COLOR 

AND  ITS  DISTRIBUTION 
IN  PRINTING 

HOW  TO  ESTIMATE  INK 


BY  THE  SAME  AUTHOR 


COLOR 

AND  ITS  APPLICATION 
TO  PRINTING 


123  pages  47  illustrations  3  color  plates 

Price.  $2.00  — Mail.  10c.  extra 


COLOR 

AND  ITS  DISTRIBUTION 
IN  PRINTING 

HOW  TO  ESTIMATE  INK 
EC- ANDREWS 


i.      PUBLISHED   DV 

N°w  and  Old  bu  a5)  atdu«uci>,  biank  Books 

TH  AVE.      Neari2ihSi.      NEW  YORK 

•E    cOR  ANY  "  "OU  WANT.  CATALOGUES   FREE 


( lopyright,  1910, 
by  E.  C.  Andrews. 


THE  HENRY  O.  SHEPARD  CO.,  PRINTERS,  CHICAGO. 


PUBLISHER'S  PREFACE. 

Among  the  variable  quantities  that  perplex  the  printer, 
the  "  breaking  up  "  of  color  surface  becomes  increasingly 
difficult  as  the  art  of  engraving  develops  and  the  critical 
taste  of  the  buying  public  improves.  As  the  just  applica- 
tion of  laws  depends  on  foundation  principles,  the  author  of 
this  work,  Mr.  E.  C.  Andrews,  an  engineer  in  chemistry, 
operating  under  the  opportunities  afforded  by  Philip  Ruxton, 
Incorporated,  has  reduced  the  foundation  principles  of  color 
and  its  interrelations  in  distribution  to  laws  that  are  exem- 
plified by  practical  examples.  In  this  matter  the  present 
work  becomes  also  a  sequel  and  exposition  of  the  principles 
laid  down  in  the  author's  previous  work,  "  Color  and  Its 
Application  to  Printing." 

An  important  service  has  been  rendered  in  this  work  in 
the  laboratory  tests  and  proofs  of  the  covering  power  of 
specific  inks  on  specific  surfaces  on  specific  papers.  By  means 
of  the  examples  shown,  the  quantities  of  ink  to  be  used  for 
any  job  can  be  determined  with  almost  absolute  accuracy. 

The  price  of  this  work  has  been  made  on  its  service  and 
not  on  its  cost  of  manufacture.  It  is  more  than  a  book.  It 
is  a  gauge  to  reduce  waste  and  to  determine  qualities  —  in 
color  distribution  —  and  quantities,  in  ink. 

A.  H.  McQuilkin. 


AUTHOR'S  PREFACE. 

Although  "  Color  and  Its  Application  to  Printing  "  has 
reached  the  second  edition  in  the  original  form,  it  has  always 
been  my  regret  that  the  various  harmonies  of  color  could 
not  have  been  exemplified  in  that  work.  That  it  has  sold  in 
spite  of  its  woeful  lack  of  concrete  examples  assuredly  indi- 
cates a  desire  on  the  part  of  many  printers  to  acquire  a 
knowledge  of  color  harmony  from  a  scientific  standpoint. 
Mr.  Henry  Turner  Bailey,  editor  of  "  The  School  Arts  Book," 
in  reviewing  it,  said :  "  In  the  realm  of  color,  seeing  is 
believing.  The  proof  of  the  theory  is  its  actual  result  in 
color  harmonies."  Mr.  Bailey's  appreciation  of  the  color- 
scheme  of  the  cover  of  that  volume  was  so  encouraging  that 
I  determined  that,  sooner  or  later,  "  Color  and  Its  Applica- 
tion to  Printing  "  would  be  exemplified.  The  result  is  the 
present  volume,  and  while  my  great  regret  is  that  cost  again 
limited  the  number  of  inserts,  at  least  I  have  been  able  to 
avoid  the  use  of  enamel  paper  for  the  text  and  preserve 
correct  margins  in  this  work,  while  in  the  second  edition  of 
"  Color  and  Its  Application  to  Printing  "  the  original  error 
in  layout  has  been  carefully  ( ?)  followed.  Such  mistakes 
happen  in  the  best  regulated  print-shops,  and  is  a  small  mat- 
ter in  comparison  to  the  support  that  The  Inland  Printt  r 
has  given  to  problems  that  interest  the  printer.  To  Mr.  A.  H. 
McQuilkin,  especially,  the  author  expresses  his  acknowledg- 
ment for  the  cordial  and  sustained  interest  he  has  taken  in 
this  supplementary  volume. 

To  Mr.  Adolph  Jahn,  of  the  Jahn  &  Oilier  Engraving  Co., 
I  am  indebted  for  the  plates  used  in  printing  the  inserts.  My 
original  intention  was  to  collect  from  various  engravers 
suitable  plates  which  they  might  have  on  hand,  and  as  it 
happened  I  presented  my  problem  to  Mr.  Jahn  first  of  all. 
When  he  learned  the  purpose  of  this  book  he  felt  that  it  would 
advance  the  art  and  science  of  printing  and  not  only  agreed 


to  contribute  any  and  all  plates,  but  offered  the  services  of 
his  art  department  in  retouching  or  preparing  copy.  The 
foreign  examples  were  reproduced  from  colored  prints, 
requiring  careful  separation  of  the  colors  with  filters.  All 
of  the  paper-houses  mentioned  were  most  gracious  in  fur- 
nishing paper  for  experimenting,  so  that  as  far  as  plates 
and  paper  were  concerned  I  could  have  used  many  more 
inserts  if  it  was  a  question  of  proving  only. 

Again  I  must  thank  Mr.  Fred  S.  Bertsch  and  Oswald 
Cooper  for  the  drawing  of  the  title-page  and  cover-design, 
as  well  as  for  Plates  2  and  3,  which  demonstrates  some  of 
their  best  work  for  advertising  of  this  character.  To  Mr. 
Frank  G.  Winter,  of  the  Faithorn  Co.,  I  am  indebted  for  the 
composition  of  the  eight,  ten  and  twelve  point  type  shown  on 
Plates  29  to  37 ;  to  Mr.  Sherman  Ruxton,  for  help  in  prepar- 
ing permanent  files  of  various  experiments ;  to  Mr.  E.  E. 
Sheldon,  of  the  Lakeside  School  of  Apprentices,  for  the 
examples  of  the  work  of  his  students ;  to  Mr.  Floyd  E.  Bar- 
meier,  for  assistance  in  weighing  when  determining  cover- 
ing capacity  of  ink ;  to  Mr.  James  F.  Kerns,  for  patient  color- 
matching,  and  especially  am  I  indebted  to  Mr.  Julius  W. 
Weigel  for  excellent  proving  and  presswork.  May  the  future 
larger  editions  be  as  well  printed ! 

The  number  of  different  kinds  of  paper  in  use  is  so  large 
that  I  feel  that  I  have  done  no  more  than  to  outline  a  method 
of  approaching  the  subject,  and  for  this  reason  I  have  left 
a  few  blank  pages  for  personal  notes  on  covering  capacity 
and  for  notations  of  cognate  facts  and  figures. 

November  10,  1916.  E.  C.  Andrews. 


PLATES,  PAPER  AND  INK  USED 


All  the  plates  of  this  book,  except  the  frontispiece,  were 
furnished  by  the  Jahn  &  Oilier  Engraving  Co.,  554  West 
Adams  street,  Chicago,  and  all  printing-inks  by  Philip  Rux- 
ton,  Inc.,  161  West  Harrison  street. 


BACKBONE  LABEL 
Stock  :     The  Paper  Mills'  Imperial  Vellum,  22  x  28. 
Inks:       Cover  Green  Z-829.' 
Cover  Brown  Z-828. 


Thickness  No.  1. 


COVER  AND  END-SHEETS 

Stock:     Strathmore  Paper  Co.  Bannockburn  D.  E.  Cover,  26  x  20  — 

Light  Weight  —  Shetland  Buff. 
Inks:       Cover  Green  Z-830. 
Cover  Brown  Z-831. 

BODY  TEXT 

Stock:     The  Paper  Mills'  Company  Flat  White  Dull  Uncoated  Book, 

25  x  38  —  80  pounds. 
Ink:         Dullo  Black  A-385. 

FRONTISPIECE 

Plates:  Design  and  plates  by  Wm.  E.  Rudge,  218  William  street,  New 

York  city.    Seven  colors. 
Stock  :     Chicago  Paper  Company  Cromac  Offset  Book,  25  x  38  —  120 

pounds. 
Inks:       Transparent  Yellow  Z-800. 

Transparent  Buff  Z-801. 

Transparent  Pink  Z-802. 

Transparent  Lavender  Z-803. 

Transparent  Light  Blue  Z-804. 

Transparent  Purple  Z-805. 

H.  P.  Dullo  Black  A-166. 


Plate  1. 
Ideal  Proportion  of  the  Rectangle. 

Stock:     The  Paper  Mills'  Company  Alexandra  Japan   Cream  Plate, 

25  x  38  —  70  pounds. 
Ink:         H.  P.  Dullo  Black  A-166. 


Plate  2. 

Harmony  of  Ink  and  Paper.    One  Color  with  Type  and 
Illustration. 

STOCK:     James  White  Paper  Company  Hancock  Dull  Coated  Book  — 

White,  25  x  38  —  100  pounds. 
Ink:  Dullo  Green-Black  A-214. 

Plate  3. 

Another  Example  of  Harmony  of  Ink  and  Paper. 
Stock-     James   White   Paper   Company   Hancock   Dull    Coated    Book 

—  India,  25  x  38—100  pounds. 
Ink:         Cameo  Art  Brown  C-103. 

Plate  4. 

Harmony  of  Half-tone  Subject  with  Stock  and  Ink. 
Stock  :     James   White   Paper   Company  'Hancock   Dull   Coated   Book 

—  India,  25  x  38  —  100  pounds. 
Ink:         Dullopaque  Green  E-117. 

Plate  5. 
A  Good  Analogy  in  Color  of  Stock  and  Ink. 

Stock  :     J.    W.    Butler    Paper    Company    "  Warren's "    Cameo    Plate 

Coated  Book  —  Sepia,  25  x  38  —  90  pounds. 
Ink:         Dullopaque  Brown  C-95. 

Plate  6. 
Half-tone  in  Appropriate  Color  on  Dull  White  Stock. 

Stock  :     J.    W.    Butler    Paper    Company   "  Warren's "    Cameo    Plate 

Coated  Book  —  Pure  White,  25  x  38  —  90  pounds. 
Ink:         Cameo  Art  Brown  C-103. 

Plate  7. 
The  Addition  of  Two  Decorative  Colors  to  Plate  1. 

Stock:     The  Paper  Mills'  Company  Alexandra  Japan  Cream  Plate, 

25  x  38  —  70  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 

Velvet  Green  No.  411. 

Radford  Red  No.  103. 

Plate  8. 

Plate  1  on  White  Stock  with  Decorative  Colors  in  Higher 

Value. 

Stock:     The  Paper  Mills'  Company  Alexandra  Japan  White  Plate, 

25  x  38  —  70  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 

Emerald  Green  No.  401. 

Flaming  Scarlet  No.  150. 


Plate  9. 

Christmas  Announcement  by  Students,  in  Red  and  Black. 
Stock:     The  Paper  Mills'  Company  San  Marco  Hand  Made,  12  x  17. 
Inks:       H.  P.  Dullo  Black  A-166. 
Cover  Red  Light  No.  108. 

Plate  10. 
Purple  as  a  Decorative  Color  with  Black. 

Stock:     Chicago  Paper  Company  Cromac  Offset  Book,  25  x  38  —  70 

pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 
Decorative  Purple  Z-814. 

Plate  11. 

More  Elaborate  Example  of  Purple  as  a  Decorative  Color. 

Stock:     The  Paper  Mills'  Company  Diamond  D  Suede  Finish  Book  — 

India,  25  by  38  —  100  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 

Margo  Cover  Purple  No.  912. 

Plate  12. 
A  Dark  Yellow-Red  (Brown)  as  a  Decorative  Color. 

Stock:     The  Paper  Mills'  Company  Diamond  D  Suede  Finish  Book  — 

India,  25  x  38  —  100  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 
Decorative  Brown  Z-816. 

Plate  13. 

A  Low  Chroma  Red  as  a  Decorative  Color. 

Stock:     The  Paper  Mills'  Company  Diamond  D  Suede  Finish  Book, 

25  x  38  —  100  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 

Decorative  Dark  Red  Z-813. 

Border  Gray  Z-811. 

Plate  14. 

Ideal  Distribution  of  a  Low  Chroma  Red  as  a  Decorative 

Color. 

Stock:     The  Paper  Mills'  Company  Diamond  D  Suede  Finish  Book  — 

India,  25  x  38  —  100  pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 

Decorative  Brown  C-23. 

Border  Gray  Z-811. 

Plate  15. 
Green  as  a   Decorative  Color  with   Black. 

Stock:     The  Paper  Mills'  Company  Diamond  D  Suede  Finish  Book, 

25  x  38  —  60  pounds.     Cream  White. 
Inks:       H.  P.  Dullo  Black  A-166. 

Decorative  Green  Z-812. 

Border  Gray  Z-811. 


Plate  16. 

Simple  Analogy  of  Two  Colors  with  Stock. 
STOCK:     J.    W.    Butler   Paper   Company    Gray    Single   Ply   Sunburst 

Cover,  22  x  28. 
I  n  k  s :       Cover  Green-Gray  Z-820. 

Cover  Green  Dark. 

Plate  17. 

Decorative  Color  in  Analogy  with  Stock.     Type  Color  in 

Contrast. 

Stock-     J.    W.    Butler   Paper   Company   Gray   Single   Ply    Sunburst 
Cover,  22  x  28. 

Inks:       Cover  Green-Gray  Z-820. 
Cover  Burnt  Umber. 

Plate  18. 

Ideal  Treatment  of  Colors  Similar  to  Those  in  Plate  17. 
Stock:     Chicago  Paper  Company  Brown  Milton  Text  Deckle  Edge, 
25  x  40  —  60  pounds. 

Inks:       Cover  Brown  Z-823. 
Cover  Green  Dark. 

Plate  19. 

Attractive  and  Pertinent  Use  of  Green  and  Purple. 

Stock:     Chicago  Paper  Company  Cromac  Offset  Book,  25  x  38  —  120 
pounds. 

Inks:       Cover  Lilac  Z-806. 
Cover  Green  Dark. 

Plate  20. 

Artistic  Balance  of  Dark  Green  and  Yellow. 

Stock  :     The  Paper  Mills'  Company  Regal  Antique  Book,  25  x  38  —  80 

pounds.    India. 
Inks:       Decorative  Buff  Z-827. 

Text  Brown  C-6. 

St.  Paul  Green  No.  414. 

Plate  21. 
Elaborate  Analogy  with  Gray  and  Black  Added. 

Stock:     J.    W.    Butler    Paper    Company   Antiquarian    Cover    Willow,. 
20%  x  25%.     Single-Thick. 

Inks:       H.  P.  Dullo  Black  A-166. 
Cover  Brown  Z-817. 
Cover  Buff  Z-818. 
Cover  Gray  Z-819. 


Plate  22. 
Two  Decorative  Invitations. 

Stock:     Chicago  Paper  Company  Thracian  Cadmus,  20^  x  25 —  65 

pounds. 
Inks:       H.  P.  Dullo  Black  A-166. 
Upper  Card: 

Cover  Buff  Z-824. 
Cover  Reddish-Brown  Z-825. 
Lower  Card: 

Cover  Yellowish-Brown  Z-826. 
Emerald  Green  No.  401. 

Plate  23. 

A  Good  Treatment  of  Red  Cover-Stock. 

Stock:     Chicago  Paper  Company  Claret  Aeolian  Cover,  20 ^  x  25  — 

65  pounds. 
Inks:       Cover  Black  No.  715. 

Transparent  Brown  Z-822. 

Yellow-Gold  Z-821. 

Plate  24. 

An  Example  of  Balanced  Contrast. 

Stock:     Chicago  Paper  Company  White  Aeolian  Cover,  20V2  x  25  — 
65  pounds. 

Inks:       Cover  Gray  Z-807. 

Cover  Light  Brown  Z-808. 
Cover  Blue  Z-809. 
Cover  Reddish-Brown  Z-810. 
Border  Gray  Z-811. 

Plate  25. 
An  Example  of  End-Sheet  Treatment. 

Stock:     J.  W.  Butler  Paper  Company  Buckeye  Cover,  French  Gray, 
Antique  Finish,  20  x  25  —  50  pounds,  and  22  x  28  y2  —  60 
Ink:         End-Sheet  Green-Gray  Z-815. 


Plate  26. 
Method  of  Conventionalizing  Good  Color  Schemes. 
Stock:     J.  W.  Butler  Paper  Company  Dresden  Pamphlet,  China  White. 
Ink:         H.  P.  Dullo  Black  A-166. 

Plate  27. 

Illustration  of  Some  of  the  Apparatus  Used  in  Color 

Analysis. 

Stock  :     J.    W.    Butler    Paper    Company   "  Warren's "    Cameo    Plate 

Coated  Book  —  Sepia,  25  x  28  —  90  pounds. 
Ink:         Dullopaque  Brown  C-lll. 


Plate  28. 

Solid  Used  for  Estimation  of  Covering  Capacity. 

Stock:  The  Paper  Mills'  Company  Regal  Antique  Book,  25  x  38  —  80 
pounds.    White. 

Ink:  Del  Black.  (Note. —  In  some  of  the  sheets  Process  Black 
A-34  was  used  for  this  plate.  It  weighed  .1225  gram 
as  against  .1187  for  Del  Black.  The  Process  Black  was 
inserted  by  mistake,  but  practically  the  only  difference 
is  one  of  lustre.  A  twenty-five  cent  book  black  does  not 
possess  the  same  density  of  color  as  a  Process  Black.) 

Plate  29. 

Covering  Capacity  of  Black  on  Eight-Point  Type.    Antique 

Stock. 

Stock  :     The  Paper  Mills'  Company  Regal  Antique  Book,  25  x  38  —  70 

pounds.    White. 
Ink:         Del  Black. 

Plate  30. 
Covering  Capacity  of  Black  on  Ten-Point  Type.     Antique 

Stock. 

Stock  :     The  Paper  Mills'  Company  Regal  Antique  Book,  25  x  38  —  70 

pounds.    White. 
Ink:         Del  Black. 

Plate  31. 
Covering  Capacity  of  Black  on  Twelve-Point  Type.    Antique 

Stock. 

Stock:     The  Paper  Mills'  Company  Regal  Antique  Book,  25  x  38  —  70 

pounds.    White. 
Ink:         Del  Black. 

Plate  32. 
Covering  Capacity  of  Black  on  Eight-Point  Type.    Machine- 
Finish  Stock. 

Stock:     The  Paper  Mills'  Company  Herald  Velvet  Finish  Book,  25  x 

38  —  50  pounds.     White. 
Ink:         Del  Black. 

Plate  33. 

Covering  Capacity  of  Black  on  Ten-Point  Type.     Machine- 
Finish  Stock. 

Stock:     The  Paper  Mills'  Company  Herald  Velvet  Finish  Book,  25  x 

38  —  50  pounds.    White. 
Ink:         Del  Black. 


Plate  34. 
Covering  Capacity  of  Black  on  Twelve-Point  Type.  Machine- 
Finish  Stock. 

Stock:     The  Paper  Mills'  Company  Herald  Velvet  Finish  Book,  25  x 

38  —  50  pounds.     White. 
Ink:         Del  Black. 

Plate  35. 
Covering  Capacity  of  Black  on  Eight-Point  Type.    S.  &  S.  C. 

Stock. 

Stock  :     The  Paper  Mills'  Company  A.  Plate  S.  &  S.  C.  Book,  25  x  38 

—  60  pounds.     White. 
Ink:         Del  Black. 

Plate  36. 
Covering  Capacity  of  Black  on  Ten-Point  Type.    S.  &  S.  C. 

Stock. 

Stock:     The  Paper  Mills'  Company  A.  Plate  S.  &  S.  C.  Book,  25  x  38 

—  60  pounds.     White. 
Ink:         Del  Black. 

Plate  37. 

Covering  Capacity  of  Black  on  Twelve-Point  Type. 
S.  &  S.  C.  Stock. 

Stock:     The  Paper  Mills'  Company  A.  Plate  S.  &  S.  C.  Book,  25  x  38 

—  60  pounds.     White. 
Ink:         Del  Black. 

Plate  38. 
Covering  Capacity  of  Half-Tone  Black  on  Enamel  Stock. 

Stock:     The   Paper   Mills'   Company   Diamond   D    Black   and   White 

Coated  Book,  25  x  38  —  100  pounds.     White. 
Ink:         Lustre  Black  A-346. 

Plate  39. 

Stock:     The  Paper  Mills'  Company  A.  Plate  S.  &  S.  C.  Book,  25  x  38 

60  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  40. 
Stock:     The  Empire  Paper  Company  Special  Enamel. 
Ink:         Duplex  Sepia  No.  621. 


Plate  41. 
Stock:     The   Paper   Mills'   Company   Diamond   D   Black   and   White 

Coated  Book,  25  x  38  —  100  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  42. 
Stock:     The  J.  W.  Butler  Paper  Company  "  Warren's  "  Lustro  Super- 
fine Coated  Book,  25  x  38  —  100  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  43. 
Stock:     The  J.  W.  Butler  Paper  Company  Snowflake  Enameled  Book, 

25  x  38  —  80  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  44. 
Stock:     Bermingham  &  Seaman  Company  Duotone  Enamel,  25  x  38 

—  75  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  45. 
Stock:     The  Paper  Mills'  Company  Diamond  D  Superb  Dull  Finish 

Coated  Book,  25  x  38  —  80  pounds.    White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  46. 

Stock:     The  J.  W.  Butler  Paper  Company  "  Warren's"  Cameo  Plate 

Coated  Book,  25  x  38  —  90  pounds.    Ivory  White. 
Ink:         Duplex  Sepia  No.  621. 

Plate  47. 

Four-Color  Subject.     From  a  Water-Color  by  Mr.   Glen 

Sheffer,  of  the  Jahn  &  Oilier  Engraving  Company. 

Stock:     The  J.  W.  Butler  Paper  Company  "  Warren's  "  Lustro  Super- 
fine Coated  Book,  25  x  38  —  100  pounds.    White. 
Ink  :         As  indicated  on  progressive  proofs. 

Plate  48. 

Yellow  of  Four-Color  Subject. 
Stock  :     Indicated  on  finished  proof. 
Ink:         Process  Yellow  J-21. 

Plate  49. 

Red  of  Four-Color  Subject. 

Stock  :     Indicated  on  finished  proof. 
Ink:         Process  Red  G-396. 


10 


Plate  50. 

Four-Color  Subject. 
Ink  :         Process  Red  over  Yellow. 

Plate  51. 
Black  of  Four-Color  Subject. 
Stock  :     Indicated  on  finished  proof. 
Ink:         Process  Black  A-34. 

Plate  52. 
Four-Color  Subject. 
Ink:         Process  Black  over  Red  and  Yellow. 

Plate  53. 
Blue  of  Four-Color  Subject. 
Stock:     Indicated  on  finished  proof. 
Ink:         Process  Peacock  Blue  No.  25295. 


II 


COLOR  AND  ITS  DISTRIBUTION 
IN  PRINTING 


INTRODUCTION 

As  the  purpose  of  this  book  is  to  supplement  by  actual 
color  examples  "  Color  and  Its  Application  to  Printing,"* 
rather  than  to  cover  the  entire  field  anew,  I  must  refer  the 
reader  to  that  work  for  detailed  explanations.  The  terms 
hue,  value  and  chroma,  as  used  by  Mr.  A.  H.  Munsell  in  his 
"  Color  Notation,"  are  to  be  found  in  a  footnote,  as  well  as 
the  definitions  of  analogy,  contrast,  complement  and  bal- 
anced contrast. 

Hue:  "  Color;  specifically  and  technically,  distinctive  quality  of 
color  in  an  object  or  on  a  surface;  the  respect  in  which  red,  yellow, 
green,  blue,  etc.,  differ  one  from  another;  that  in  which  colors  of 
equal  luminosity  and  chroma  may  differ." 

Value:  "  In  painting  and  the  allied  arts,  relation  of  one  object,  part 
or  atmospheric  plane  of  a  picture  to  the  others  with  reference  to  light 
and  shade,  the  idea  of  hue  being  abstracted." 

Chroma:  "  The  degree  of  departure  of  a  color  sensation  from  that 
of  white  or  gray;    the  intensity  of  distinctive  hue;    color  intensity." 

Analogy:  Analogous  colors;  in  the  restricted  sense  in  which  the 
terms  are  used  here,  colors  immediately  to  the  right  and  left  of  a  given 
color;   thus,  the  analogous  colors  to  red  are  yellow-red  and  red-purple. 

Contrast:  Contrasting  colors;  to  set  in  opposition,  as  two  or  more 
objects  of  a  like  kind,  with  a  view  to  show  their  differences.  In  the 
restricted  sense  here,  the  complement  of  a  given  color  and  the  colors 
immediately  to  the  right  and  left  of  it;  thus,  blue-green,  the  comple- 
ment of  red,  green  and  blue  are  the  contrasting  colors  to  red. 

Complement:  Complementary  or  antagonistic  colors;  those  pairs 
of  colors  which  when  mixed  produce  white  or  gray  light,  in  pigments 
those  which  produce  black  or  gray. 

Balanced  Contrast:  A  harmony  of  three  or  more  colors  where 
the  second  color  is  neither  analogous  nor  contrasting  to  the  first  color 


*  Note.— Published  in  1911  by  The  Inland  Printer  Co. 

13 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

and  the  third  color  holds  the  second  color  in  place,  obviating  the  results 
of  "  simultaneous  contrast."  (See  Chapter  IX,  "  Color  and  Its  Appli- 
cation to  Printing.") 

Where  color  is  reproduced  by  colortype  plates  the  printer 
has  little  to  do  with  the  color-scheme  —  the  engraver  must 
follow  the  artist  and  endeavor  to  reproduce  the  original  as 
nearly  as  possible.  It  is  only  when  printing  from  single 
half-tones  and  zinc  plates  (or  electrotypes)  that  the  printer 
has  an  opportunity  to  originate  or  improve  a  color-scheme. 
His  province  also  is  the  selection  of  the  proper  stock.  It  is 
with  these  problems  that  this  book  deals. 

IDEAL  PROPORTIONS  OF  THE  RECTANGLE 

In  advertising  literature  the  rectangle  most  frequently 
is  the  form  used.  Its  base  should  be  less  than  its  height  and 
in  some  simple  ratio  to  it :  two  to  three,  three  to  four,  four 
to  five  proportions  are  often  used,  but  the  Greeks  found  the 
ideal  proportion  to  be  1  to  1.618,  which  does  not  seem  to  be 
simple  until  we  analyze  how  it  was  obtained.  They  found 
that  the  width  should  be  to  the  height  as  the  height  is  to  the 
sum  of  the  width  and  height  —  a  :  b  : :  b  :  a  -(-  b,  and  if 
"  a  "  equals  1,  "  b  "  would  equal  1.618.  This  proportion  is 
called  the  Golden  Section.  To  obtain  uniformity  I  have  tried 
to  have  all  plates  4  inches  in  width,  which  applying  the 
"  Golden  Section  "  would  make  the  length  6.472,  or  a  little 
less  than  6 i/2  inches.  In  figuring  covering  capacity  I  have 
taken  25  square  inches  as  a  basis,  which  would  make  the 
length  of  the  plate  6 14  inches. 

Plate  1  is  an  example  of  the  ideal  rectangle,  with  the  deco- 
rative spot  in  exact  balance.  The  eye  is  not  drawn  away 
from  the  type-matter  by  the  decoration,  nor  does  the  stock 
claim  attention,  but  design,  stock  and  ink  are  so  correctly 
selected  that  one  realizes  that  the  design  possesses  perma- 
nent beauty.* 


*In  the  list  of  plates,  paper  and  ink  on  page  3  will  be  found  full 
information  as  to  trade-name  and  manufacturer  of  stock  and  the  name 
and  number  of  the  ink;  also  information  regarding  plates  used  in  this 
book. 


14 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

THE  SELECTION  OF  STOCK  AND  INK 

In  Plate  2  a  dull  green-black  is  used  on  dull  stock  and  for 
its  purpose  illustrates  the  same  character  of  treatment  as 
Plate  1.  Naturally  the  advertising  feature  makes  its  appeal 
more  transient.  The  Dullo  Brown  illustrated  in  Plate  3  in 
combination  with  the  stock  presents  a  simple  analogy  in 
color.  I  have  purposely  selected  a  plate,  the  lettering  and 
details  of  which  are  of  the  same  character  as  before,  so  that 
a  comparison  could  be  made  of  the  color  treatment.  One 
does  not  care  to  use  black  at  all  times,  or  even  dull  green- 
black.  Plate  3  is  a  change  and  will  command  attention,  but 
if  the  catalogue  is  to  be  retained  for  a  long  period  the  pre- 
vious color-scheme  is  a  better  one.  In  the  same  way  colored 
stationery  is  effective  as  a  change,  but  one  feels  that  white 
stock  year  in  and  out  is  better  than  something  more  novel 
retained  too  long. 

UNUSUAL  HALF-TONE  COLORS 

In  Plate  4  the  subject  demands  unusual  treatment,  not  in 
color  but  in  quality,  and  the  effect  is  obtained  by  the  dull 
stock  and  Dullo  Green-Black  ink.  In  printing  a  half-tone  such 
as  Plate  5  with  a  solid  background,  the  laying  quality  of  the 
ink  is  of  utmost  importance.  No  matter  how  attractive  the 
subject  or  color,  the  effect  is  ruined  by  the  appearance  of 
mottling  in  the  background.  The  hue  of  the  ink  is  in  analogy 
with,  and  tones  into,  the  hue  of  the  stock.  In  value  it  may 
be  said  to  be  as  much  above  black  as  the  stock  is  below  white. 
This  shortening  of  the  value  scale  at  both  ends,  rather  than 
using  white  stock  with  colored  ink  or  colored  stock  with 
black  ink,  is  a  gain  in  effectiveness. 

Compare  Plate  6.  The  color  of  the  ink  is  well  suited  to 
the  subject  and  white  stock  is  to  be  preferred,  as  stated 
above,  to  colored,  but  the  final  result  is  not  quite  so  pleas- 
ing as  the  head  of  Liszt.  This  plate  demonstrates  that 
art  subjects  are  an  exception  to  the  rule,  and  are  not  limited 
to  conservative  treatment  in  the  same  way  as  office  station- 
ery and  merchandise  advertising. 


15 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

THE  ADDITION  OF  DECORATIVE  COLORS 

In  Plate  7  I  have  taken  Plate  1,  which  was  perfectly  sat- 
isfying in  black,  and  added  color  to  illustrate  that  decorative 
colors  must  balance  on  a  point  midway  between  the  value 
of  the  stock  and  black  where  black  is  the  type-color.  If  we 
speak  of  black  as  zero  in  value  and  white  as  100,  the  stock 
in  Plate  7  is  about  92,  and  the  decorative  colors,  therefore, 
are  46. 

In  Plate  8  white  stock  is  used.  The  decorative  colors, 
therefore,  are  of  50  value,  i.  e.,  both  are  lighter  than  the 
colors  in  the  previous  plate.  The  use  of  red  as  a  decorative 
color  dates  back  to  the  early  days  of  printing.  Nowadays 
the  advertiser  demands  it  because  he  believes  it  has  "  atten- 
tion-value." The  word  "  value  "  here  has  a  different  mean- 
ing. Often  the  color-value  is  not  correct,  but  the  better 
grade  of  work  shows  that  most  printers  realize  that  they 
must  use  a  red  of  50  value  when  using  black  for  the  type- 
color  and  white  stock.  Such  a  red  is  a  light  or  yellow  red. 
Frequently,  also,  "  orange  "  is  used,  but  seldom  other  colors. 

In  Plates  7  and  8,  granting  that  we  are  going  to  add  color 
where  it  is  not  necessary,  we  ought  to  at  least  use  as  little 
as  possible  of  the  high-chroma  red.  Notice  how  much  the 
small  spot  of  red  is  in  evidence.  This  small  area  is  large 
enough.  The  green,  although  of  a  lower  chroma,  has  too 
much  area.  It  would  be  better  if  we  had  selected  a  lower 
chroma  still,  but  then  the  leaves  would  have  lost  their 
suggestiveness.  They  would  not  appear  as  we  see  leaves 
printed.  Sometimes  it  is  difficult  for  the  printer  of  average 
experience  to  limit  the  decorative  color  to  the  exact  area 
required  for  balance.  In  Plate  9  too  much  red  is  used,  but, 
taking  the  drawing  as  it  is,  the  arrangement  of  the  lettering 
for  color  distribution  presented  a  difficult  problem  for  the 
student.  Without  the  picture  at  the  top  the  distribution  of 
red  in  the  greeting  might  have  been  "  H  "  in  Holiday,  "A" 
in  Apprentices,  "  L  "  in  Lakeside,  the  holly  leaf  and  "  M  " 
in  MCMXV,  but  with  the  weight  of  the  unbroken  black  in 
the  sketch  above,  such  a  distribution  would  give  too  little 


16 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

red.  Naturally,  then,  the  distribution  illustrated  was  the 
decision.  The  card  as  a  whole  is  very  creditable,  and  shows 
what  is  being  done  in  Mr.  T.  E.  Donnelley's  School  for 
Apprentices,  under  the  direction  of  Mr.  Sheldon. 

EXAMPLES  OF  MORE  UNUSUAL  DECORATIVE 

COLORS 

Plates  10  to  14  suggest  how  purple  and  dark  yellow-reds 
(reds  of  low  chroma)  may  be  used  instead  of  high-chroma 
red  or  "  orange  "  as  decorative  colors.  Any  color  may  be 
used  as  a  decorative  color,  or  to  be  more  exact,  a  color  may 
be  selected  of  any  hue  for  a  decorative  color  provided  the 
value  is  correct.  The  tendency  in  the  use  of  decorative  colors 
is  to  use  too  large  an  area,  especially  when  the  color  pos- 
sesses a  high  chroma. 

Plate  15  illustrates  the  use  of  green  as  a  decorative  color 
with  black  ink  on  white  stock.  The  possibilities  of  green 
are  so  varied  that  it  is  to  be  regretted  that  it  is  not  used  more 
often  for  decoration.  There  are  yellow-greens  of  high 
chroma,  pure  greens,  blue-greens,  and  that  large  family  of 
greens  of  low  chroma,  the  olives.  Fifty  plates  would  be 
necessary  to  illustrate  the  possibilities  of  this  color  in  varied 
distributions. 

SIMPLE  ANALOGY 

Plate  16  demonstrates  the  use  of  two  greens  printed  on 
gray-green  cover-stock.  The  form  of  the  decorative  color 
is  somewhat  distracting  and  the  stock  is  not  in  the  exact 
value  that  would  give  the  most  perfect  balance,  yet  the  effect 
as  a  whole  is  pleasing.  Ideal  conditions  would  be  a  50-value 
stock  with  the  possibility  of  printing  the  decorative  color 
so  that  it  would  have  a  value  of  70  with  the  type-color  of 
30  value.  Granting  that  the  type-color  should  be  a  decided 
green,  the  area  of  the  decorative  color  in  the  design  should 
be  increased  so  that  with  its  necessarily  low  chroma  it  would 
make  up  in  area  what  it  lacked  in  chroma.  The  areas  of  the 
two  colors  should  be  in  inverse  proportions  to  iheir  chromas ; 


17 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

viz.,  balance  six  square  inches  of  a  30-chroma  color  against 
three  square  inches  of  a  60-chroma  color.  Notwithstanding 
that  Plate  16  will  not  bear  this  analysis,  it  is  still  very  accept- 
able as  a  cover-design. 

TWO  COLORS,  ONE  IN  ANALOGY  WITH  THE 
STOCK,  THE  OTHER  IN  CONTRAST 

In  Plate  17  a  yellow-red  of  low  chroma  (brown)  takes 
the  place  of  green  for  type.  This  contrasting  yellow-red  has 
practically  the  same  chroma  as  the  green  —  it  is  just  as 
strong  or  brilliant  and  is  also  of  the  same  value.  There  are 
some  who  would  like  this  color-scheme  better  than  that  of 
Plate  16,  but  to  me  a  contrasting  color  emphasizes  any  pos- 
sible incorrect  balance  of  the  areas  in  chroma,  as  well  as  the 
inequalities  of  the  value  steps.  For  the  novice  the  analogy 
is  the  surest  road  to  harmony. 

In  Plate  18  the  brown  decorative  color  is  in  analogy  with 
the  stock,  and  the  type  green  is  in  contrast  to  it.  Here  we 
have  an  ideal  distribution  of  colors  similar  to  those  used  in 
Plate  17.  The  balance  is  so  exact  that  if  we  were  to  increase 
the  area  of  the  brown  in  the  decorative  spots  in  the  heading 
or  at  the  bottom  (i.  e.,  by  making  them  more  solid) ,  we  would 
have  to  use  a  more  neutral  brown  (lower  in  chroma)  in  order 
to  again  produce  the  ideal  balance. 

HARMONY  BY  CONTRAST 

In  Plate  19  the  green  and  purple  suggest  the  character 
of  business  that  the  booklet  advertises.  It  was  printed  by 
the  Press  of  the  Fruit  Grower,  St.  Joseph,  Missouri,  and 
it  is  such  a  good  cover  that  it  is  to  be  regretted  that  hand- 
lettering,  conforming  to  the  character  of  the  design,  was  not 
used  instead  of  type.  It  is  a  good  example  of  a  contrasting 
color-scheme,  with  the  areas  of  the  two  colors  adjusted  to 
their  respective  chromas.  Notice  that  on  the  border  the 
higher  value  purple  was  used  for  the  four  outer  lines  in 
order  to  increase  the  area  of  that  color. 


18 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

MORE  COMPLEX  ANALOGIES 

Plate  20  is  a  yellow  analogy,  although  it  does  not  appear 
so  at  first  glance.  The  decorative  yellow  is  the  middle  of  the 
group  of  colors ;  on  the  warm  side  the  stock  and  type-color 
are  yellow-red,  and  on  the  cool  side  dark  yellow-green  is 
used  for  the  other  decorative  color.  This  is  a  very  attrac- 
tive example  of  the  use  of  color  for  type  and  decoration. 

Plate  21  is  another  type  of  an  elaborate  analogy,  with  the 
addition  of  a  neutral  gray  to  accentuate  the  design.  The 
form  is  novel  and  for  the  purpose  very  acceptable.  As  a 
rule,  the  square  is  not  a  desirable  form  to  use  in  advertising, 
but  when  used  the  base  should  be  three  per  cent  greater  than 
the  altitude.  This  apparent  inequality  is  necessary  in  order 
to  make  the  figure  appear  square.  The  muscles  of  the  eye 
which  control  vertical  movement  do  not  permit  of  such 
unconscious  use  as  those  which  move  the  eye  from  side  to 
side.  It  requires  more  effort  to  look  up  and  down  than  side- 
ways, so  that  distances  up  and  down  seem  greater. 

UNUSUAL  DECORATIVE  COLORS  WITH  BLACK 

The  upper  card  in  Plate  22  illustrates  again  the  use  of  a 
decorative  color  midway  in  value  between  the  stock  and 
black,  and  demonstrates  also  that  in  order  to  gain  effective- 
ness it  is  not  necessary  to  have  an  extra  color  much  in  evi- 
dence. The  card  would  be  spoiled  if  the  buff  under  the  leaves 
was  also  used  in  the  type-matter.  The  lower  card  is  bizarre 
in  treatment  and  color,  but  it  fits  the  occasion.  An  invita- 
tion to  the  distribution  of  prizes  at  a  printing-school  is  not 
limited  by  the  same  conventions  as  advertising  matter.  The 
card  as  sent  out  was  not  the  exact  shape  shown,  and  in  set- 
ting it  into  the  page  too  much  margin  appears  at  the  top. 

TREATMENT  FOR  RED  COVER-STOCK 

Red  stock  is  very  difficult  to  handle  satisfactorily  and 
Plate  23  shows  a  type  of  treatment  which  is  always  success- 
ful.   Avoid  brilliant  colors  —  the  stock  itself  furnishes  the 


19 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

attraction ;  use  black  for  type,  an  analogous  color  to  blend 
the  central  line  or  decorative  spot  into  the  stock,  and  gold 
to  give  richness  to  the  whole.  This  is  a  good  formula.  In 
this  example  yellow  was  added  to  the  gold  in  order  to  take 
away  its  "  newness  "  and  give  it  the  appearance  of  age. 

HARMONY  BY  BALANCED  CONTRAST 

Plate  24  is  an  example  of  balanced  contrast,  in  that  the 
gray  tint  around  the  decorative  spot  in  the  center  is  used 
to  prevent  the  color  of  the  stock  from  changing  the  appear- 
ance of  the  blue  by  simultaneous  contrast.  The  yellow  in 
the  spot  would  tend  to  make  the  blue  appear  as  its  comple- 
ment, purple-blue,  but  the  yellow-red  (brown)  in  the  center 
would  help  to  keep  it  blue,  as  the  complement  of  yellow-red 
is  blue.  However,  notwithstanding  the  aid  of  the  yellow  in 
the  design,  if  the  stock  could  act  directly  on  the  spot  of  blue 
it  would  make  it  appear  purple-blue,  owing  to  the  large  area 
of  stock  surrounding  it.    The  gray  ring  prevents  this. 

END-SHEET  TREATMENT 

End-sheet  colors  should  be  always  in  close  analogy  to 
the  color  of  the  stock,  not  only  in  hue  but  also  in  value  and 
chroma.  In  Plate  25  I  have  made  the  color  stronger  than 
that  required  for  most  decorative  end-sheets  in  order  to 
bring  out  the  variety  of  the  design,  which  since  it  is  made 
up  of  various  printers'  trade-marks  is  interesting  to  many 
of  the  readers  of  this  book. 

METHOD  OF  CONVENTIONALIZING  GOOD  COLOR- 
SCHEMES  FOR  FUTURE  USE 

Plate  26  is  4  by  6 14  inches,  or  25  square  inches.  Each 
of  the  triangles  has  an  area  of  14  square  inch,  or  one  per 
cent  of  the  area  of  the  rectangle,  and  each  of  the  small 
oblongs  an  area  of  %  square  inch,  or  one-half  per  cent  of 
the  total  area.  The  design  is  arranged  with  the  idea  of 
using  the  small  oblongs  for  the  small  areas  of  the  high- 


20 


COLOR  AND  ITS  DISTRIBUTION  IN  PRINTING. 

chroma  colors,  which  in  cover-designs  are  usually  located 
in  the  approximate  position  indicated.  For  those  who  are 
seriously  interested  in  the  subject  of  the  distribution  of  color 
in  printing,  this  plate  will  have  more  interest  than  if  it  were 
printed  in  many  colors.  By  means  of  such  an  arrangement 
in  percentages  one  may  preserve  the  analyses  of  good  color- 
schemes  in  a  form  which  admits  of  instant  application  to 
some  new  job  having  the  same  number  of  colors  in  approxi- 
mate areas.  Duplicate  electrotypes  of  this  plate  may  be  had 
from  The  Inland  Printer  Co.,  and  they  also  keep  a  supply  of 
sheets  printed  with  this  plate  on  hand,  so  that  you  may 
either  print  your  own  sheets  on  suitable  stock  or  order  them 
already  printed.  If  you  print  them  yourself,  use  the  light- 
est possible  gray,  so  that  the  outlines  of  the  plate  will  not 
interfere  with  the  color-scheme  you  are  recording.  In  fill- 
ing in  the  design  the  best  medium  to  use  is  printing-ink,  in 
order  to  avoid  the  additional  adjustment  of  matching  water- 
colors  when  the  job  goes  on  the  press.  Tap  the  colors  in 
the  triangles  with  the  finger,  using  a  triangular  and  oblong 
mask  cut  from  heavy  bond-paper.  The  conventionalizing 
of  a  design  as  complicated  as  the  frontispiece*  is  not  at 
all  difficult  if  you  use  a  planimeter  in  measuring  the  areas. 
In  order  to  change  the  chroma  or  value  of  a  color  in  fit- 
ting a  successful  color-scheme  to  new  conditions,  it  would 
pay  every  printer  to  have  on  his  desk  one  of  Munsell's  Color 
Atlases.  Five  fundamental  hues,  and  on  some  of  the  charts 
ten,  are  shown  in  various  values  and  in  decimal  steps  of 
chroma,  so  that  when  applying  the  rule  that  chroma  should 
be  inversely  proportional  to  the  area  the  printer  may  see 
exactly  the  strength  of  color  he  must  use  in  order  to  obtain 
balance.  This  Color  Atlas,  containing  688  colors,  is  for  sale 
by  the  Wadsworth-Howland  Co.,  Boston,  Massachusetts,  or 
Favor,  Ruhl  &  Co.,  425  South  Wabash  avenue,  Chicago. 

*The  original  poster  of  this  plate  was  printed  from  linoleum  plates 
with  the  exception  of  the  black.  These  linoleum  plates  were  made  !>\ 
engraving  a  heavy  piece  of  linoleum  mounted  on  a  wood  block,  and  the 
development  of  this  process  is  due  to  Mr.  Wm.  E.  Rudge,  of  New  York. 
It  is  especially  adapted  for  broad  effects  and  rather  coarse  lines  on 
rough  paper.  The  ductility  of  the  linoleum  yields  readily  to  the  uneven- 
ness  of  the  surface  of  this  character  of  stock. 

21 


THISIS  TO  CERTIFY- THAT 

EMORY  COBB  ANDREWS 

HAVING  PAID  THE  SUM  OF 
ONE  •  HUNDRED  ■  DOLLARS 
INTO  THE  TREASURY- OF 

THE  ART  INSTITUTE  OF  CHICAGO 

IS  •  ENTITLED 

TO  ALLTHEPRIVILEGES ■  OF 

LIFE  MEMBERSHIP 

UNDER  THE  BY-LAWS  ■  OF 

THE  ASSOCIATION 


CHICAGO    -    NOV  -     1*2.-'    15^5 


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Plate  1. 


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INTERIOR  DECORATIONS 
&>  FURNISHINGS 

Our  Interior  Decorating  and  Furnishing 
Service  enables  our  customers  to  choose 
conveniently  and  wisely,  with  the  aid  of 
expert  general  salesmen,  from  our  unsur- 
passed stocks  of  foreign  and  domestic 
decorations  and  furnishings. 

We  maintain  a  complete  organization  for 
all  work  pertaining  to  the  interiors  of 
residences.  Authoritative  advice,  without 
charge,  is  part  of  this  service. 

You  are  invited  to  bring  your  problems 
to  our  general  salesmen  on  the  Fifth  Floor. 

Consulting  with  us  involves  no  obligation 
on  your  part. 


:•.. 

.:<.: 


,.. 


Plate 


Marshall  f  eld  &  0>. 

INTERIOR  DECORATIONS 
&   FURNISHINGS 

Our  Interior  Decorating  and  Furnishing 
Service  is  an  unusual,  cooperative,  helpful, 
personal  Service  in  Home  Furnishing — for 
which  there  is  no  charge. 
It  is  a  tremendous  advantage  for  you  to 
choose  all  the  materials  for  the  decorating 
and  furnishing  of  your  home  in  one  place 
—  dealing  with  one  person,  one  of  our 
general  salesmen. 

This  Service  focuses  the  experience  and 
power  of  this  world-wide  organization  up- 
on your  individual  problems.  We  co-operate 
with  you  in  all  details. 
You  are  invited  to  consult  with  our 
general  salesmen  on  the  Fifth  Floor. 


IM  vn    3 


Plate  4. 


Plate  5. 


' 


THISIS  TO  CERTIFY-  THAT 

EMORY  COBB  ANDREW5 

HAVING  PAID  THE  SUM  OF 
ONE  HUNDRED  DOLLARS 
INTO  THE  TREASURY-  OF 

THE  ART  INSTITUTE  OF  CHICAGO 

IS  •  ENTITLED 

TO  ALL  THE  PRIVILEGES  OF 

LIFE  MEMBERSHIP 

UNDERTHE  BY-LAWS  OF 

THE  ASSOCIATION 


CHICAGO    -  NOV  -     12.   r_  1515 


PRESIDENT 


SECRETARY 


Plate  7. 


THIS  IS  TO  CERTIFY- THAT 

EMORY  COBB  ANDREW5 

HAVING  PAID  THE  •  SUM  OF 
ONE  •  HUNDRED  •  DOLLARS 
INTO  THE  TREASURY- OF 

THE  ART-  INSTITUTE  OF  CHICAGO 

IS  •  ENTITLED 

TO  ALL  THE  -PRIVILEGES  OF 

LIFE  MEMBERSHIP 

UNDERTHE  BY-LAWS  •  OF 

THE -ASSOCIATION 


CHICAGO  _r   NOV 


PRESIDENT 


Plate  8. 


ftoBay  GmBnp  from 
QfS^oIftr^itimrES 
tf  X5fyt  Itafosiuf  Pita 
Gjjttago  "^  DBnrns 
GlrrKaiiKB  0XHDXV 


Plate  9. 


EXAMPLES 
OF  WORK 

PRODUCED  BY  STUDENTS 

ATTENDING  THE  ST  BRIDE 

FOUNDATION  PRACTICAL 

PRINTING  CLASSES 


SESSION  1913-14 


Plate  10. 


W^M 



DECEMBRE 

i 

D 

AVENT 

2 

L 

S-  AMELIE 

3 

M 

S.  CLAUDE 

4 

M 

S*  BARBE 

5 

J 

S.  SABAS 

6 

V 

S.  NICOLAS 

1        7 

S 

S.  AMBROISE 

8 

D 

IMMAC.  CONC. 

NL 

9 

L 

S'  .LEOCADIE 

10 

M 

S-  JULIE 

1 

n 

M 

S.  DANIEL 

1 

12 

J 

S-  CONSTANCE 

13 

V 

S-  LUCIE 

M 

s 

S.  NICAISE 

i5 

D 

S.  MESMIN 

11 

16 

L 

S.  EUSEBE 

PQ 

¥))      «7 

M 

S.  LAZARE 

l\V 

)) 

\\ 

//  «8 

M 

S.  GATIEN 

\v 

7 

KV 

V/l      '9 

J 

S.  TIMOLEON 

NY/ 

A 

IV 

/A  .0 

V 

S'  PHILOGONE 

Pyv 

/.    1        21 

S 

S.  THOMAS 

^.|         22 

D 

S.  HONORAT 

1. 

S«  VICTOIRE 

^H 

^^      24 

M 

S*  IRMINE 

/Tl      25 

M 

NOEL 

M  1      if> 

J 

S.  ETIENNE 

N  I    27 

V 

S.  JEAN 

A/      28 

s 

SS.  INNOCENTS 

29 

1) 

S.  DAVID 

3o 

1. 

S.  ROGER 

DQ 

3i 

M 

S.  SYLVESTRE 

Plate  11. 


r 

J 

^6 

0£ 

^%     ♦     <J 

^F^  ^^r     ^^ 

^^ 

NOVEMBRE 

1    i 

V 

TOUSSAINT 

DQ 

2 

s 

TREPASSES 

3 

D 

S.  HUBERT 

4 

L 

S.  CHARLES 

5 

M 

S"  SYLVIE 

■      6 

M 

S.  LEONARD 

7 

J 

S.  ERNEST 

8 

V 

S.  GODEFROY 

NL 

9 

s 

S.  MATHURIN 

1  1     i0 

D 

S.  JUSTE 

' 

1     fl 

L 

S.  MARTIN 

1       12 

M 

S.  RENE 

13 

M 

S.  BRICE 

14 

J 

S-  PHILOMENE 

15 

V 

S'  EUGENIE 

PQ 

16 

S 

S.  EDME 

7/  :» 

D 

S.  AIGNAN 

\v 

J  J 

\\ 

L 

S.  MAXIME 

ii 

v/j     „ 

M 

S*  ELISABETH 

IV 

//          20 

M 

S.  EDMOND 

/,  .        21 

J 

S.  COLOMBAN 

)(/]            22 

V 

S«  CECILE 

^V    23 

s 

S.  CLEMENT 

KX  24 

D 

S'  FLORE 

I'l.      \Tm 

A)     2» 

L 

S«  CATHERINE 

//  A' 

M 

S«  DELPHINE 

v/      27 

M 

S.  SEVERIN 

r        2S 

J 

S.  SOSTHENE 

29 

V 

S.  SATURNIN 

3o 

s 

.S.  ANDRE                       do 

HIVl.K.    22    DLCEMBRE. 

Plate  12. 


a 


rhreaholan  for  iBoh* 
Ijantorrh  i  Stothtjolm 


MEDDELAR  PRAKTISK  OCH  TEORETISK 
UNDERVISNING  AT  BOKTRYCKERIELEVER 


BILAGATILL  NORD1SK  BOKTRYCK  ARE 

KONST,  SATT  OCH  TRYCKT 

I  YRKESSKOLAN  FOR 

BOKHANTVERK 

STOCKHOLM 


□ 


STOCKHOLM  19 10 


Plate  13. 


VELIN  DORE 

Vieux  maitre  relieur.  I'or  que  tu  ciselas 

flu  dos  du  livre  et  dans  I'e'paisseur  de  la  tranche 

N'a  plus,  malgre'  les  fers  pousse's  d'une  main  Tranche, 

La  rutilante  ardeur  de  ses  premiers  eclats. 

Les  chiffres  enlaces  que  liait  I'entrelacs 
S'effacent  chaque  jourde  la  peau  fine  et  blanche: 
fl  peine  si  mes  \eux  peuvent  suivre  la  branche 
De  lierre  que  tu  fis  serpenter  sur  les  plats. 

Mais  cet  ivoire  souple  et  presque  diaphane. 

Marguerite,  Marie,  ou  peut-etre  Diane, 

De  leurs  doigts  amoureui  I'ont  jadis  caresse"; 

Et  ce  ve'lin  pali  que  dora  Clevis  Eve 
Evoque,  je  ne  sais  par  quel  charme  passe", 
L'a"me  de  leur  parfum  et  I'ombre  de  leur  rive. 

J.-M.  DE  HEREDIfl 


Plate  14. 


Der  cngliscbc  Illustrator  und  das  Bud). 


ir  riibmen  uns,  und  zioar  mil  Recht, 
einer  iciederauflebenden  Gntioicke- 
lung  des  Bucbsdimuckes.  riacb  einer 
langen  Epoche  kldglicher  Derkom- 
menheit,  die  einem  auf  den  seiaV 
testen  6eschmach  der  ITCassen  spe- 
kulierenden  fjandioerk  das  Feld  odllig  gerdumt  hatte, 
regt  sidi  jetzt  icieder  der  Gedanke,  ob  es  nidit  tourdiger 
sei,  ein  poetisches  IDerk  mil  iDirklicb  kiinstlerisdier 
Erhcnntms  seiner  Gcdanken  schmiichend  zu  gestalten. 
£s  ist  uns  icieder  doII  und  ganz  aufgegangen,  dob 
in  erster  Cinie  docb  gerade  das  Buch  ein  Bildungs- 
mittel  des  FTCenscben  ist  —  in  oielen  Fallen  sogar  das 
einzigste — das  scbon  oonjugend  auf  alseinkdstlicher 
bduslicber  Gesell  die  Kunsteindriicke  in  uns  zu  krdf- 
tigen  und  eine  reine,  erbebende  Freude  an  grofeen  und 
scbonen  Gedanken  zu  geioinnen  oermag,  das  uns  oon 
seiner  Cektiire  hinaus  in  dielDelt  sinnen  und  Irdumen 
Idbt,  nicbt  nur  oon  den  Uorgdngen  und  Geschehnissen 
langst  begrabener  Gescblechler,  sondern  audi  oon  dem 
Denken  und  Sinnen  der  oolksbildenden  Kraft  unserer 
eigenen  Zeit.  Don  solcben  Betrachrungen  ausgebend, 
haben  in  den  letzten  3abrzebnten  unsere  Kiinstler  das 
Frucbtbare  dieses  Gebietes  fur  ibre  Udtigkeit  oon 
neuem  erkannt  und  mit  scbdnem  Eifer  oersucbt,  die 


Plate  15. 


HAT 
SEVEN  YEARS 
HAVE  DONE 


THE  SCHOOL 
FOR  APPRENTICES 

OF 

IE  LAKESIDE  PRES 
CHICAGO' 


Plate  16. 


HAT 
EVEN  YEARS 
HAVE  DONE 

1%^ 


THE  SCHOOL 
IFOR  APPRENTICES 


OF 


THE  LAKESIDE  PRESS 
CHICAGO 


Plate  17. 


lofepl)  Keidtjenberger 


nippes  und  Olastuarm 
Porzeltan  *  IttanufaUtut 
Stelngut  una  IflajoUKa 


\***Qk<mm?w;*>*>'- 


IDaltiUtKim  in  Saftfcn 

;  Kaufmgerftrage  \%  \.  stocU 


Plate  18. 


Plate  19. 


PRES  avoir  enseigne  la  vie,  les  livres 
nous  en  consolent.  Lisez  done.  Les 
sages  qui  ont  ecrit  avant  nous  sont 
des  voyageurs  qui  nous  ont  precedes 
dans  les  sentiers  de  ttnfortune,  qui  nous 
tendent  la  main  et  nous  invitent  a  nous 
joindre  a  eux  quand  tout  nous  aban- 
donne.  Lisez  done.  Un  bon  livre  est  un 
legs  qu'un  homme  de  genie  fait  au 
genre  humain. 


Vignettes  composccs  et  photopravecs,  composition  du  textc  et  impression  par  kl  dtvtl 
de  I'ecolc  municipalc   Esticnne    — Annee    igo6. 


Pi.atk  20. 


DISTRIBUTIOn  D€5  PRIX 


Plate  21. 


t«JS«tiPier    V9I5 


p«r  W*  «i«f  ra 


Plate  22. 


RAYMOND  POINCARE 


L'IDEE  DE  PATRIE 


•* 


&*+ 


TYPOGRAPHIE   DE   L'ECOLE  MUNICIPALE   ESTIENNE 

a    D    A  BOULEVARD  AUGUSTE-BLANQyi.  18.     PARI5-XI!I°  ARRONDISSEMENT    Q    Q 


Plate  23. 


ECOLE  TflUNICIPALE   ESTIENNE 

■   ■  ■    ARTS  ET  INDUSTRIES  DU  L1VRE   ■  ■  ■ 

1914 


ATELIERS   AYANT  COLLABORt   A   LA   CONFECTION    DE   CE   CALFNDRJER 


COMPOSITION  DECORATIVE        =         lllu.k.Uom  d<co.«Uv«,  Armn  rt  ta    000000000 
GRAVURE    SUB    BOIS  =  COMPOSITION    TYPOGRAPH1QUE  ■   IMPRESSION   TYPOORAPHIQOE 


Plate  24. 


Plate  25. 


Plate  26. 


n  r»€fc<J*fr0 


nn 


1  ''.,'; 

II 

HI  | 

III 

III 

II 


HOW  TO  ESTIMATE  INK 


My  interest  in  this  subject  was  first  aroused  when  taking 
some  friends  from  out  of  town  to  visit  the  pressroom  of  one 
of  our  large  dailies  more  than  ten  years  ago.  I  asked  the 
night  foreman  how  many  pounds  of  ink  it  took  to  print  a 
thousand  newspapers,  but  he  was  unable  to  give  me  accurate 
information.  Later  I  asked  this  question  of  others,  and  one 
man  gave  me  the  facts  in  the  form  I  had  expected.  It  was 
Mr.  Lester  L.  Jones,  of  the  Journal:  "  On  an  eight-column 
paper  the  sheet  is  18^4  x  231/-),  with  a  printing  surface  of 
17  x  21 1/2,  365  square  inches,  or  about  3,000,000  square 
inches  for  a  thousand  eight-page  papers.  The  ink  runs 
between  one  and  two  pounds,  depending  on  the  stock."  In 
discussing  covering  capacity  with  various  printers,  I  found 
that  few  of  them  figured  the  ink  in  estimating  on  a  square- 
inch  basis.  It  was  a  case  of  comparing  one  job  with  another, 
a  guessing  not  only  of  the  covering  capacity  of  the  ink  but 
of  the  area  itself.  One  man  used  133,000  square  inches  per 
pound  on  all  jobs  and  inks  as  the  covering  capacity  of  one 
pound  of  material;  another,  100,000.  Imagine  the  sur- 
prise of  these  gentlemen  if  they  had  figured  on  a  certain 
school-supply  catalogue  which  had  a  black  cover  with  the 
design  in  white.  It  happened  to  be  comparatively  easy  to 
measure  the  area,  but  for  the  first  impression  only  it  took 
four  times  the  amount  they  would  have  figured.  The  most 
complete  list  of  covering  capacities  I  found  in  use  in  a  pri- 
vate label  plant  where  they  used  but  one  stock.  The  list  was 
as  follows : 

Thousands  of  Square 
Inches  Per  Pound. 

Solid  Black 130 

Bronze-Blue   120 

Purple 120 

Blue  Lake 180 


12:: 


HOW  TO  ESTIMATE  INK. 

Thousands  of  Square 
Inches  Per  Pound. 

Milori  Blue 260 

Alkali  Brown 160 

Milori  Green 140 

Transparent  Tints 200 

Red  120 

Margo  Yellow 90 

Gold  Size 100 

Azure  Blue 180 

Green  Lake   180 

Bronze  takes  21/2  times  the  weight  of  the  size. 

At  a  glance  there  are  errors  in  this  list ;  for  example,  the 
covering  capacity  of  Milori  Blue  compared  to  Bronze-Blue, 
but  many  of  the  figures  are  quite  accurate.  At  any  rate,  this 
superintendent  had  tried  to  classify  his  information  regard- 
ing inks,  and  no  doubt  some  errors  were  to  be  expected  from 
faulty  measurement.  Let  us  consider  a  moment  this  feature 
of  estimating  ink. 

HOW  TO  MEASURE  THE  SQUARE  INCHES 
IN  A  JOB 

Regular  solids,  such  as  rectangles,  are  easily  measured 
with  a  rule;  triangles,  by  drawing  a  rectangle  about  them 
and  by  subdividing  the  rectangle  with  other  lines,  are  easily 
measured  in  part  or  whole  as  one-half  the  area  of  the  sur- 
rounding rectangle ;  solid  circles,  by  multiplying  the  square 
of  the  diameter  by  .7854 ;  and  irregular  solids,  by  means  of  an 
instrument  called  a  planimeter,  sold  by  Keuffel  &  Esser  Co., 
which  gives  the  area  in  square  inches  by  simply  tracing  the 
outlines  of  the  solid. 

Next,  the  number  of  square  inches  of  type  must  be  meas- 
ured and  this  result  multiplied  by  the  percentage  that  type 
bears  to  solid  on  that  stock.  Then  mixed  display  type  and 
illustration  multiplied  by  its  percentage  of  solid  and  the 
half-tone  area  reduced  to  terms  of  solid  are  added  to  the 
area  of  the  solids  and  type-matter.  This  gives  the  total  area 
of  the  printing  surface  of  the  job,  and  if  we  know  the  num- 
ber of  thousand  square  inches  that  one  pound  of  the  ink 


24 


HOW  TO  ESTIMATE  INK. 

covers  on  our  stock  the  estimate  is  no  longer  guesswork. 
As  the  measurement  of  small  type-faces  even  with  a  plani- 
meter  is  out  of  the  question,  the  method  of  obtaining  rela- 
tive areas  of  type,  mixed  display  type  and  illustration  and 
half-tones  is  by  weighing. 

THE  BALANCE  USED 

Weighings  of  this  nature  may  be  made  on  a  chemist's 
analytical  balance,  such  as  are  used  in  laboratories  and  col- 
leges, but  these  stock  balances  are  so  sensitive  that  a  weigh- 
ing of  more  than  50  grams  is  not  desirable.  One  sheet  of 
25  x  38  — 100  enamel  weighs  one-fifth  of  a  pound,  or  more 
than  70  grams.  Not  only  could  this  sheet  not  be  weighed 
on  a  stock  scale  without  damaging  it,  but  owing  to  the  glass 
back  it  would  be  impossible  to  balance  it  on  the  pan.  For 
that  reason  I  ordered  the  scale  shown  in  Plate  27  made  to 
order  in  Germany.  The  glass  doors,  both  front  and  back, 
are  removable.  It  has  a  capacity  of  500  grams  and  a  sensi- 
tiveness of  a  miligram.  Some  reader  may  ask  why  I  did 
not  use  the  "  Decimal  Parts  of  a  Pound  "  system  advocated 
in  "  Color  and  Its  Application  to  Printing."  Only  because 
there  have  been  no  accurate  weights  made  in  this  system 
smaller  than  thousandth  parts  of  a  pound,  which  is  453  milli- 
grams, and  it  is  very  expensive  having  these  small  weights 
made  to  order. 

Also  shown  in  Plate  27  is  an  Ives  daylight  producer, 
immediately  in  front  of  the  balance,  and  at  the  right  an 
Ives  colorimeter.  The  former  is  a  cabinet  with  a  gas  mantle 
at  the  top  and  two  filters  below,  standardized  with  each 
other,  one  violet  and  one  crackled  green.  The  light  produced 
is  almost  perfect  daylight,  something  that  Ives  could  never 
obtain  from  an  electric  light.  The  colorimeter  is  an  appa- 
ratus for  matching  colors  in  terms  of  light,  and  neither  it 
nor  the  daylight  producer  have  anything  to  do  with  the 
estimation  of  ink;  but  if  I  may  digress  a  moment  longer  I 
should  like  to  call  your  attention  to  a  new  use  for  the  electric 
hair-dryer  on  the  table  —  that  of  drying  ink  "  tap-outs." 


•_•:. 


HOW  TO  ESTIMATE  INK. 

To  return  to  the  subject  of  the  measurement  of  the  cov- 
ering capacity  of  type-faces  by  means  of  weighing.  First 
we  must  get  the  weight  of  a  solid  black  (or  color)  of  the 
exact  area  of  the  type-face  we  expect  to  weigh. 


METHOD  OF  DETERMINING  COVERING  CAPACITY 
BY  WEIGHING 

Plate  28  is  a  solid  4  by  61/i  inches,  or  25  square  inches. 
It  is  printed  on  antique  stock  and  the  ink  on  that  page  weighs 
.1187  gram.  Of  course  this  is  the  average  weight.  This 
copy  may  be  a  trifle  light  or  a  trifle  heavy.  It  is  much  more 
difficult  to  obtain  an  equal  distribution  on  a  press  than  to 
weigh  accurately  on  the  balance.  The  same  solid  printed  on 
machine-finish  stock,  such  as  used  for  Plates  32  to  34,  weighs 
.0839  gram,  and  on  S.  &  S.  C.  stock  (Plates  35  to  37) ,  .0515 
gram.  Since  S.  &  S.  C.  stock  is  probably  used  by  every 
printer,  and  since  it  gives  the  highest  covering  capacity  of 
any  paper  excepting  certain  enamels,  I  will  take  this  stock 
as  a  basis  and  show  how  I  arrived  at  the  figure  .0515  gram 
as  the  weight  of  the  ink  used  to  print  a  solid  4  by  6*4  inches. 

The  S.  &  S.  C.  stock,  as  well  as  all  other  stocks  used  in 
estimating  covering  capacity  of  various  inks,  were  cut  7  by 
914  inches.  The  packages  were  opened  and  the  stock  exposed 
for  a  number  of  days  in  order  to  avoid  loss  of  moisture  at 
the  time  the  weighings  were  made.  The  temperature  and 
humidity  were  the  same  in  the  pressroom  and  the  room 
adjoining,  containing  the  scale.  It  is  evident  that  it  is  impos- 
sible to  make  weighings  immediately  after  a  storm  or  the 
first  bright  day  after  a  damp  week  and  expect  to  have  them 
accurate.  With  the  weather  auspicious  and  the  S.  &  S.  C. 
stock  properly  seasoned,  the  balance  was  tested  to  see  that 
the  swing  was  correct  and  a  weighing  was  made  of  a  known 
weight.  Then  ten  sheets  of  the  7  by  9!/2  inch  stock  were 
selected  and  marked  "A,"  another  ten  marked  "  B,"  and  a 
third  ten  marked  "  C,"  etc.  The  press  was  then  started  and 
fifty  or  a  hundred  sheets  were  run  to  be  sure  that  the  quantity 


26 


HOW  TO  ESTIMATE  INK. 

of  ink  was  correct.  The  trial  weighing  of  "A"  was  made, 
the  sheets  immediately*  printed  and  instantly  reweighed, 
the  difference  giving  the  weight  of  the  ink. 

"A"      37.350  grams,  weight  of  stock  and  ink. 
36.870  grams,  weight  of  stock. 


.480  grams,  weight  of  250  square  inches  of  Del  Black. 

Upon  examination,  trial  weighing  "A"  showed  that  the 

stock  was  not  quite  covered  with  the  ink.    The  fountain  of 

the  press  was  opened  a  little,  fifty  sheets  more  were  run  to 

be  sure  of  an  average  color  and  weighing  "  B  "  was  made. 

"  B  "     37.020 
36.505 


.515 

The  color  of  "  B  "  seemed  to  be  correct  and  the  weighing 

of  "  C"  followed  with  the  press  running  on  try-sheets  of 

the  same  S.  &  S.  C.  stock  during  the  weighing  of  "  B  "'  so 

that  the  ink  would  have  no  chance  to  dry  on  the  press. 

"  C  "     37.280 
36.765 


.515 


*  One  day  the  conditions  were  so  perfect  that  with  M.  F.  stock  no 
change  in  weight  was  shown  in  fifty  minutes,  weighings  made  every 
ten  minutes,  but  as  a  rule  it  is  not  safe  to  allow  more  than  three  or 
four  minutes  to  elapse.  After  printing,  haste  is  doubly  necessary,  as 
ink  loses  weight  in  drying.  At  the  same  time  the  above  test  was  made 
on  blank  stock,  a  duplicate  test  was  made  on  printed  stock  with  the 
following  results: 

Plate  33. —  Ten  sheets  M.  F.  blank  stock.  Weight  of  black  ink  on 
250  square  inches,  ten-point  type. 

1:40  P.M.    32.199  1:55  P.M.    32.192  2:05  P.M.    32.190 

32.120  32.120  32.120 


1:55  P.M. 

32.192 
32.120 

3:15  P.M. 

.072 

32.202 
32.120 

.079  .072  .070 


2:30  P.M.  32.193     3:15  P.M.  32.202     5:30  P.M.  32.175 
32.120  32.120  32.120 


.073  .082  .055 

Note  the  curious  gain  in  weight  between  2:05  P.M.  and  3:15  P.M., 
and  the  final  lowest  weight  at  5:30  P.M.  An  attempt  at  explanation 
would  involve  a  chemical  analysis  of  the  ink  itself,  which  probably 
would  be  of  little  interest  to  printers. 


27 


HOW  TO  ESTIMATE  INK. 

Since  "  B  "  and  "  C  "  give  the  same  result,  we  are  rea- 
sonably sure  of  the  accuracy  of  our  weighings.  Sometimes 
it  was  necessary  to  make  as  many  as  six  or  seven  weighings 
to  be  sure  that  our  results  were  average  ones,  and  in  the 
lists  of  covering  capacities  the  results  have  been  rechecked 
not  only  as  to  weighing  but  as  to  figuring.  There  are  at 
least  three  weighings  to  every  color. 

The  question  is  now  to  convert  our  result  into  covering 
capacity  per  pound  of  ink  in  terms  of  thousand  square  inches. 

For  example : 

If  250  square  inches  weigh  .515  grams,  1,000  square  inches  would 
weigh  2.060  grams. 

1  pound  equals  453.592  grams. 

In  order  to  get  the  weight  of  1,000  square  inches  in 
pounds,  we  must  divide  2.060  by  453.592,  which  gives 
.00454152  pound.  This  long  figure  could  be  used  to  figure 
covering  capacity,  but  our  result  was  not  in  the  form  we 
desire  it.  The  problem  is  simple.  If  .00454152  pound  covers 
1,000  square  inches,  how  many  square  inches  will  one  pound 
cover?  We  divide  1,000  by  .00454152,  which  gives  220190.6 
square  inches  as  the  covering  capacity  of  one  pound  of  Del 
Black  on  S.  &  S.  C.  stock.  For  practical  purposes  220000 
is  close  enough,  but  I  carried  the  divisions  out  to  the  last 
point  in  order  to  get  this  one  weighing  as  perfect  as  possible, 
because  from  it  will  be  derived  all  other  covering  capacities 
by  simple  proportion.  With  logarithms  the  problem  we 
have  just  done  is  a  matter  of  a  moment,  but  simple  division 
is  something  with  which  all  printers  are  more  familiar. 
Before  we  are  ready  for  our  one  division  in  order  to  figure 
out  other  tests,  we  must  get  our  dividend  by  proportion. 

If  we  let  the  covering  capacity  of  an  unknown  be  repre- 
sented by  "  X,"  and  the  weight  in  grams  of  this  same  un- 
known by  "  Y,"  we  have  the  following  proportion : 
.515  :  Y  : :  X  :  220190 

.515,  the  weight  of  ink  on  250  square  inches  on  S.  &  S.  C, 
is  to  Y  the  weight  of  ink  on  250  square  inches  on  some  other 
stock  as  X,  the  covering  capacity  of  the  other  stock  is  to 


28 


HOW  TO  ESTIMATE  INK. 

220190  the  covering  capacity  of  the  ink  just  tested.    It  fol- 
lows that 

X  =  .515  X  220190 

Y 

Multiplying  .515  by  220190  we  have  113397.85.  There- 
fore 

X  =  113397.85 ;  or,  to  make  it  more  simple, 

Y 

X  =  113400 

Y 

Let  us  try  an  example.  I  stated  that  the  ink  on  Plate  28 
weighed  .1187  gram.  Therefore  ten  sheets  like  Plate  28 
would  weigh  1.187  grams.  Divide  this  number  into  113400 
and  we  have  95534,  roughly  95000,  as  the  covering  capacity 
of  Del  Black  on  antique  stock.  Again,  this  solid  on  M.  F. 
stock  weighs  .0839  gram  —  on  ten  sheets  .839  gram  —  which 
gives  135160,  practically  135000,  as  the  covering  capacity 
of  Del  Black  on  M.  F.  stock.  In  figuring  other  covering  capac- 
ities I  will  give  the  results  in  even  thousands  of  square 
inches,  as  less  than  1,000  inches  is  a  negligible  quantity.  In 
this  example  it  would  be  less  than  one  per  cent,  a  variation 
much  less  than  the  accuracy  of  the  distribution  of  the  press, 
and  in  dollars  and  cents  less  than  $10  on  $1,000  worth  of  ink. 

PERCENTAGE  OF  INK  REQUIRED  BY  TYPE-MATTER 
AS  COMPARED  TO  SOLIDS 

Plate  29  illustrates  25  square  inches  of  8-point  type  on 

antique  stock  printed  with  the  same  Del  Black  shown  on  the 

solid  of  Plate  28.    The  ink  weighs  .135  gram  for  250  square 

inches,  giving  a  covering  capacity  of  840,000  square  inches 

to  the  pound.     The  relation  of  8-point  type  to  solid  on  this 

135 
stock  is  therefore      Qf7,  or  11.4  per  cent —  11  per  cent  in 

llo  / 

even  figures. 

Plate  30  illustrates  10-point  type  on  the  same  stock.  It 
weighs  for  ten  sheets  .110  gram,  showing  a  covering  capacity 
of  1,030,000  square  inches,  or  9  per  cent  solid. 


29 


HOW  TO  ESTIMATE  INK. 

Plate  31,  in  12-point  type,  weighs  .080  gram  for  250 
square  inches,  a  covering  capacity  of  1,417,000  square  inches, 
or  7  per  cent  solid. 

Antique  Stock 

To  sum  up,  we  have  now  the  following  facts  regarding 
antique  stock.  We  must  figure  95000  square  inches  as  the 
covering  capacity  for  one  pound  of  25-cent  Book  Black,  and 
knowing  the  number  of  square  inches  in  the  job  we  are  esti- 
mating (or  the  square  inches  in  a  thousand  copies,  a  hun- 
dred copies  or  one  copy,  depending  on  the  size  of  the  job 
estimated),  we  have  only  to  divide  the  square  inches  in  the 
job  (in  thousands)  by  95  and  take  11,  9  or  7  per  cent  of  this 
amount  as  the  number  of  pounds  we  will  use  for  8,  10  or  12 
point  type,  respectively. 

M.  F.  Stock 

Plate  32  weighs  .080  gram  for  the  ink  on  ten  sheets,  a 
covering  capacity  of  1,417,000  square  inches,  and  compared 
to  the  weight  of  a  solid  of  the  same  area  (.839  gram)  it  is 
9J/2  per  cent  solid. 

Plate  33  weighs  .074  gram  for  a  like  area,  a  covering 
capacity  of  1,532,000  square  inches,  and  compared  as  before 
it  is  practically  9  per  cent  solid. 

Plate  34  weighs  .062  gram  for  ten  sheets,  a  covering  ca- 
pacity of  1,829,000  square  inches,  and  is  7!/2  per  cent  solid. 

On  M.  F.  stock  we  now  have  this  formula.  Figure 
135,000  square  inches  for  the  covering  capacity  of  25-cent 
Book  Black  and  then  9V->  per  cent  of  that  amount  for  8-point 
type,  9  per  cent  for  10-point  and  7!/2  Per  cent  for  12-point. 

S.  &  S.  C.  Stock 

Plates  35,  36  and  37  tested  practically  the  same,  .050 
gram  for  ten  sheets,  which  is  a  covering  capacity  of  2,268,000 
square  inches  for  a  pound  of  25-cent  Book  Black.  The  area 
is  therefore  9.7  per  cent  solid.  Figure  220,000  square  inches 
per  pound  on  S.  &  S.  C.  stock  of  this  finish  for  this  quality 
black  ink  on  solids  and  take  9.7  per  cent  of  this  amount  for 


30 


HOW  TO  ESTIMATE  INK. 

these  type-faces.  The  fact  that  the  three  different  type- 
faces take  the  same  amount  of  ink  on  this  stock  is  accounted 
for  largely  by  the  hardness  of  the  surface  and  the  great  dif- 
ference on  antique  stock  by  the  softness  of  the  stock.  The 
smaller  the  type  on  antique  stock  the  greater  the  tendency 
to  punch  through,  which  adds  the  shoulder  of  the  type-face 
to  the  area  of  the  printing  surface.  On  S.  &  S.  C.  it  is  also 
difficult  to  gauge  the  correct  quantity  of  ink,  as  it  is  more 
likely  to  offset  on  this  stock  than  on  M.  F.  If  our  problem 
was  the  determination  of  the  relative  areas  of  the  three 
type-faces  solely,  the  results  on  M.  F.  stock  would  be  more 
nearly  correct  than  the  other  figures. 

PERCENTAGE  OF  INK  REQUIRED  BY  MIXED  DIS- 
PLAY TYPE  AND  ILLUSTRATION  AS  COM- 
PARED TO  SOLIDS 

Let  us  take  Plate  3  as  an  example.    It  is  4  x  6V2  inches 
instead  of  6*4  inches,  making  a  difference  of  1  square  inch 

in  area,  so  that  in  using  the  formula  X  =  — y —  ,  we  must 

take  96  per  cent  of  the  weight  in  grams  as  "  Y."  One  series 
of  tests  was  as  follows : 


Stock  Used. 

S.  &  S.  C,  as  on  Plates  35-37 . 

M.  F.,  as  on  Plates  32-34 

Antique,  as  on  Plates  28-31. 
Cameo  Sepia,  as  on  Plate  5 .  . 

Compare  these  percentages  with  those  of  straight  type- 
matter  above.  It  would  be  very  interesting  to  lay  out  various 
jobs  so  that  the  percentage  of  solid  matter  ran  from  7  to  70 
and  use  these  as  standards  in  teaching  the  estimation  of 
covering  capacity.  Perhaps  I  may  be  able  to  work  this  out 
at  a  later  date,  and  it  is  my  regret  that  the  publication  date 
of  this  book  prevents  my  adding  more  weighings  of  this 
character.    This  is  the  most  difficult  part  of  the  estimator's 


Weight 

of  Del 

Black  in 

Grams. 

96  Per 

Cent  of 

This 

Amount. 

Thousands 
of  Square 

Inches 
Per  Pound. 

Percent- 
age Com- 
pared to 
Solid. 

.045 

.0432 

2,625 

8.4 

.075 

.072 

1,575 

8.6 

.110 

.1056 

1,074 

8.9 

.075 

.072 

1,575 

12.8 

31 


HOW  TO  ESTIMATE  INK. 

job,  and  no  example  would  give  exactly  the  same  surface 
as  that  which  had  to  be  estimated.    Let  us  now  consider  the 

PERCENTAGE  OF  INK  REQUIRED  BY  A  HALF- 
TONE AS  COMPARED  TO  SOLID 

The  weight  of  the  half-tone  black  on  ten  sheets  like 
Plate  38  is  .235  gram,  which  gives  a  covering  capacity  of 
483,000  square  inches  to  the  pound.  The  weight  of  a  solid 
of  the  same  size  printed  on  the  same  stock  is  .350  gram, 
which  gives  the  percentage  the  half-tone  bears  to  solid  as 
67.  Both  of  these  weighings  represent  sheets  carrying  a 
"  full  color,"  and  granting  that  the  half-tone  used  may  be 
5  per  cent  heavier  than  normal  in  order  to  give  it  a  "  snappy  " 
effect,  we  have  62  per  cent  as  our  factor  for  high-grade  half- 
tone work.  To  get  this  blackness  the  ink  must  fit  the  paper 
perfectly  without  any  tendency  to  offset.  Let  us  compare 
this  Lustre  Black  with  the  Process  Black  shown  on  Plate  51 
with  regard  to  the  covering  capacity  on  Plate  38,  using  the 
same  stock.  The  solid  of  ten  sheets  of  Process  Black  weighs 
.591  gram,  and  the  half-tone  .180,  or  30  per  cent  as  much 
ink  for  half-tone  as  solid,  but  the  result,  although  not  gray, 
owing  to  the  fact  that  the  Process  Black  is  heavily  toned 
with  Reflection  Blue,  lacks  character  and  "  snap."  It  is 
not  a  decided  black,  and  "  jet  blackness  "  is  not  obtained  from 
a  half-tone  black  of  the  highest  covering  capacity,  as  a 
deposit  of  carbon  rather  than  a  thin  film  of  a  dye  is  required 
to  obtain  this  result.  From  other  tests  I  found  that  52  per 
cent  was  the  lowest  ratio  that  could  be  safely  figured  and 
obtain  satisfactory  "  blackness."  This  applies  particularly 
to  high-grade  book  inks  and  second-grade  half-tone  inks 
which  are  not  toned  with  as  much  blue  and  therefore  appear 
"  gray  "  more  readily.  Figure,  therefore,  half-tones  62  per 
cent  solid  for  black  results  and  52  per  cent  for  average  work. 
This  brings  us  to  a  further  consideration  of 

THE  RELATION  OF  COVERING  CAPACITY  TO 
FITTING  THE  STOCK  WITH  THE  INK 

Plates  39  to  46  illustrate  the  effect  produced  by  printing 
the  same  ink  on  eight  well-known  papers.     It  is  hard  to 


32 


HOW  TO  ESTIMATE  INK. 

believe  that  Plates  45  and  46  are  printed  with  the  same  ink, 
and  the  question  might  arise  as  to  whether  the  quantity  of 
ink  was  the  same  on  both  sheets.  Obviously  not,  as  the  two 
stocks  require  different  amounts  to  cover  thoroughly,  and  if 
the  Cameo  in  Plate  46  looks  to  be  flooded,  the  effect  is  due 
to  the  development  of  the  stain  in  the  duplex  ink  after  print- 
ing and  not  to  too  much  ink  carried  at  the  time.  It  was 
this  excessive  "  toning-out "  quality  of  Cameo  paper  with 
Duplex  or  two-shade  inks  that  caused  Philip  Ruxton,  Incor- 
porated, to  place  the  Dullopaque  colors  on  the  market.  These 
dry  out  with  only  a  reasonable  amount  of  "  spreading  "  and 
with  a  soft,  dull  finish.  Compare  Plates  5,  6  and  27. 
Two-shade  inks  containing  as  much  stain  as  Duplex  Sepia 
No.  621  must  be  slip-sheeted,  while  some  of  the  Dullopaques 
such  as  C-95  may  be  run  on  Cameo  paper  without  slip- 
sheeting  if  the  form  is  not  too  heavy.  The  Superb  stock  on 
Plate  45  does  not  tone  out  to  any  great  extent,  which  makes 
it  safer  for  the  uninitiated  printer  to  handle,  as  slip-sheeting 
is  not  imperative  and  the  correct  quantity  of  ink  is  not 
difficult  to  gauge.  If  we  tabulate  the  results  of  the  cover- 
ing capacity  of  these  various  stocks  in  Plates  39  to  46,  we 
may  make  a  comparison  of  the  effect  and  the  quantity  of  ink 
carried  on. 

Weight  in         Thousands  of 
Grams  for  Sq.  In.  per 

Duplex  Sepia  No.  621  (Half-tone)  on  250  Sq.  In.  Lb. 

S.  &  S.  C.  Book  (Plate  39) 211  537 

Empire  Enamel  (Plate  40) 080  1,418 

Diamond  D  (Plate  41) 147  771 

Lustro  Enamel  (Plate  42) 169  671 

Snowflake  (Plate  43) 193  588 

B.  &  S.  Duotone  (Plate  44) 170  667 

Superb  Dull  Finish  (Plate  45) 208  545 

Cameo  Ivory  (Plate  46) 376  304 

The  S.  &  S.  C.  stock  of  Plate  39  is  seldom  used  for  Duplex 
inks,  but  considering  the  grade  of  the  paper  the  effect  and 
covering  capacity  is  satisfactory;  Plate  40  shows  clean 
printing,  but  little  character  to  the  color  and  no  two-shade 
effect;    Plate  41  carries  some  two-shade  effect  and  shows 


:::: 


HOW  TO  ESTIMATE  INK. 

good  life  in  the  foreground,  clean  whites  in  the  building 
and  good  brilliancy  in  the  sky ;  Plate  42  shows  the  two-shade 
effect  of  the  ink  in  a  considerable  degree  and  takes  the  ink 
nicely,  but  the  color  of  the  stain  does  not  suit  this  stock 
quite  so  well  as  the  action  of  the  ink  in  Plate  43 ;  in  Plate 
44  the  ink  tones  out  somewhat  stronger  in  the  foreground, 
especially  in  the  solids,  but  the  sky  is  not  quite  so  clean 
as  in  some  of  the  other  plates ;  Plate  45  shows  a  clean-print- 
ing piece  of  dull  stock,  but  to  pay  a  higher  price  for  a  Duplex 
ink  for  this  stock  would  be  extravagance.  It  absorbs  all  the 
stain  and  neutralizes  it  in  a  most  astonishing  manner; 
finally  Plate  46  shows  a  wonderful  toning-out  quality,  so 
much  so  that  a  printer  could  add  half  Dullo  Black  to  Duplex 
Sepia  and  still  have  plenty  of  two-shade  effect  on  this  stock. 
As  explained  above,  effects  may  be  obtained  on  this  stock 
with  Dullopaque  inks,  which  are  most  desirable,  especially 
for  art  subjects.  In  weighing  these  tests,  the  excessively 
high  covering  capacity  of  Empire  Enamel  surprised  me.  Of 
course  it  was  not  suited  for  bringing  out  the  effects  of  this 
ink,  as  the  sample  will  show,  but  supposing  its  covering 
capacity  was  higher  on  black  ?  I  was  doomed  to  disappoint- 
ment, however,  as  printing  Plate  38  on  it  with  Lustre  Black 
gave  .230  gram  for  ten  sheets,  a  covering  capacity  of  490,000 
square  inches,  practically  the  same  as  for  the  stock  used 
on  that  plate.  In  order  to  compare  the  covering  capacities 
obtained  with  the  two-shade  ink  still  further,  I  ran  the  same 
stocks  again,  using  Process  Black  for  the  reason  that  its 
nature  and  consistency  resembles  the  Duplex  Sepia  more 
than  Lustre  Black.    Here  are  the  results : 

Weight  in        Thousands  of 
Grams  for  Sq.  In.  per 

Process  Black  on  (Plate  38)  250  Sq.  In.  Lb. 

S.  &  S.  C.  Book  (Plate  39) 300  378 

Empire  Enamel  (Plate  40) 175  648 

Diamond  D  (Plate  41) 180  630 

Lustro  Enamel  (Plate  42) 170  667 

Snowflake  (Plate  43) 165  687 

B.  &  S.  Duotone  (Plate  44) 221  513 

Superb  Dull  Finish  (Plate  45) 370  307 

Cameo  Ivory  (Plate  46) 385  295 


34 


HOW  TO  ESTIMATE  INK. 

On  S.  &  S.  C.  stock  the  color  is  fair  only ;  on  Empire  it 
is  "  washed  out "  in  appearance ;  on  Diamond  D  gray,  but 
better  than  on  Empire,  although  not  within  25  per  cent  as 
good  as  results  obtained  with  a  No.  1  Book  Black  which 
fitted  the  stock ;  on  Lustro  the  result  is  fair,  but  a  long  way 
from  perfect ;  Snowflake  looks  about  as  black  as  the  sample 
on  Diamond  D  and  the  B.  &  S.  Duotone  resembles  Lustro. 
On  Superb  the  effect  is  very  good  and  on  Cameo  it  is  a 
little  too  black.  An  accurate  comparison  of  the  enamels 
would  be  out  of  place  here,  as  the  prices  of  the  stocks  are 
not  the  same  nor  the  weights,  but  Superb,  which  gives  the 
only  perfect  results  with  this  ink,  requires  about  the  same 
weight  of  ink,  it  will  be  noticed,  as  the  Cameo  Ivory  required 
of  Duplex  Sepia.  Since  the  war  the  coatings  of  enamels 
have  changed  so  much  in  their  relation  to  absorption  of  ink 
that  Process  Black,  which  formerly  fitted  most  of  the  enam- 
els mentioned,  has  been  supplanted  by  the  Lustre  Black 
shown  on  Plate  38  for  straight  half-tone  work.  The  Process 
Black  still  has  its  place  for  light  screens  where  the  mini- 
mum quantity  of  color  is  desirable  and  on  more  absorbent 
papers  such  as  Superb.  Dullo  Black,  however,  fits  both 
Superb  and  Cameo. 

COVERING  CAPACITY  OF  INK  ON  FOUR- 
COLOR  WORK 

The  analysis  of  Plate  47,  as  indicated  by  the  progressive 
proofs  which  follow  the  order  in  which  the  colors  were  run, 
gives  us  these  facts :  weight  of 

Ink  on  25 

Weight  of      Sq.  In.  (26  Thousands 

Ink  on  Size        percent  of  Sq.  In. 

Color.  Shown.  more  i .  to  the  Lb. 

Yellow    225  .281  400 

Red 095  .119  950 

Red  over  Yellow 080  .100  1,130 

Black 040  .050  2,270 

Black  over  Red  and  Yellow 040  .050  2,270 

Peacock  Blue 125  .156  727 

Blue  over  the  other  colors 125  .156  727 


35 


HOW  TO  ESTIMATE  INK. 

You  will  notice  that  it  took  19  per  cent  more  red  when 
red  was  printed  alone  than  over  yellow,  while  with  black  and 
blue  the  results  were  the  same  whether  the  color  was  lapped 
or  not. 

For  the  sake  of  comparison,  let  us  bring  the  above  results 
into  decimal  parts  of  a  pound,  with  the  yellow  as  1.000. 

Yellow.  Red.  Black.  Blue. 

1.000  .356  .178  .555 

Is  this  an  average  ratio  for  four-color  work?  It  depends, 
first  of  all,  on  the  strength  of  the  yellow  used  as  a  basis  of 
comparison  and  then  on  the  nature  of  the  subjects  repro- 
duced. The  covering  capacity  of  the  yellow,  while  not  as 
great  as  Ruxton's  concentrated  yellow,  is  high  compared 
to  some  yellows  used  by  colortype  houses.  Compare  Plate 
38  with  Plate  48 ;  we  know  that  the  weight  of  Lustre  Black 
on  the  former  is  .235  gram  and  the  yellow  on  the  latter  is 
.225  gram  (.281  for  25  square  inches),  which,  after  making 
an  allowance  for  the  difference  in  the  plates,  is  lighter  than 
we  expect.  Blacks  cover,  as  a  rule,  at  least  50  per  cent  more 
than  the  average  yellow. 

It  is  hard  to  define  an  average  subject;  the  blue  in  Plate 
47  is  too  heavy  to  make  that  plate  an  example,  but  by  com- 
paring the  progressive  proofs  of  the  job  you  are  estimating 
with  the  proofs  shown  here  you  will  be  able  to  arrive  at 
approximate  quantities. 

Perhaps  the  most  unusual  proportions  for  four-color 
work  are  found  in  the  fruit  catalogue.  There  nearly  every 
page  is  made  up  largely  of  light  green  and  yellow.  On  a 
sheet  32  by  44  of  this  kind  of  work  the  yellow  ran  4.600 
pounds  per  thousand;  red,  1.000;  blue,  .800,  and  black, 
.500.    Comparing  this  to  yellow  as  before,  we  have : 

Yellow.  Red.  Black.  Blue. 

1.000  .217  .109  .174 

It  must  be  remembered  that  we  are  not  comparing  the 
same  colors  nor  are  the  amounts  careful  weighings,  but 
represent  pressroom  reports,  which  include  wastage.  One 
firm  printing  mail-order  inserts  exclusively,  on  a  McKee 


36 


HOW  TO  ESTIMATE  INK. 

four-color  press,  figures  2.86  pounds  of  ink  per  thousand, 
thirty-two-page  forms,  8V2  by  11.  The  ink  is  distributed 
as  follows : 

Yellow.  Red.  Black.  Blue. 

1.000  .474  .684  .852 

Ninety-five  per  cent  of  the  amount  of  each  color  will  give 
the  result  in  actual  pounds. 

One  colortype  house  figures  this  proportion  for  carpets 
on  flat-bed  presses : 


Yellow. 

Red. 

Blue. 

1.000 

.333  to  .400 

.333 

rs  figure : 

Yellow. 

Red. 

Blue. 

1.000 

.250 

.375 

The  amount  of  yellow  could  be  decreased  considerably 
by  using  a  mixture  containing  part  concentrated  yellow. 
The  yellow  used  in  printing  Plate  47,  although  principally  a 
pigment  yellow,  contained  some  of  this  material,  which  ac- 
counts for  the  higher  covering  capacity. 

THE  PERCENTAGE  TO  ADD  FOR  WASTAGE 

After  making  an  estimate  as  to  the  amount  of  ink  re- 
quired, it  is  necessary  to  add  something  for  loss  of  ink,  as 
the  figures  given  here  are  net.  The  press  used  in  proving 
was  a  Colt's  Armory  Laureate  and  the  figures  given  would 
probably  be  5  per  cent  less  for  cylinder  work  on  long  runs. 
The  loss  may  occur  by  not  cleaning  the  can  thoroughly,  by 
the  ink  becoming  "  dirty  "  in  the  fountain  and  by  the  amount 
left  over  at  the  end  of  the  run.  It  is  safe  to  say  that  the 
wastage  is  always  5  per  cent  even  when  the  same  form  is 
kept  on  for  a  week.  A  large  job  on  bible  paper  was  analyzed 
carefully  in  this  respect.  Thirty-two  pages,  7%o  by  514,  or 
1,206  square  inches,  printed  in  7-point  type,  required  95  hun- 
dredths of  a  pound  per  thousand  impressions,  which  with  a 
carefully  compiled  record  showed  exactly  5  per  cent  wastage. 
The  covering  capacity  of  the  ink  was  therefore  1,330,000 


37 


HOW  TO  ESTIMATE  INK. 

square  inches.  On  rotary  work  on  print  stock  nearly  4  per 
cent  of  the  ink  must  be  reground,  owing  to  paper  dust  get- 
ting into  the  fountain  and  on  the  plates. 

The  following  may  be  a  good  method  of  figuring,  as  it 
takes  into  consideration  the  wastage  getting  started  as  well 
as  the  amount  left  over : 

Jobs  requiring  1  pound  of  ink  figure  25  per  cent  on  job 
press ;  100  per  cent  on  cylinder. 

Jobs  requiring  2  pounds  of  ink  figure  20  per  cent  on  job 
press ;   50  per  cent  on  cylinder. 

Jobs  requiring  5  pounds  of  ink  figure  15  per  cent  on  job 
press ;  20  per  cent  on  cylinder. 

Jobs  requiring  10  pounds  of  ink  figure  10  per  cent  on  job 
press ;  15  per  cent  on  cylinder. 

Jobs  requiring  25  pounds  of  ink  figure  8  per  cent  on  job 
press ;   10  per  cent  on  cylinder. 

Jobs  requiring  50  pounds  of  ink  figure  6  per  cent  on  job 
press ;  8  per  cent  on  cylinder. 

Jobs  requiring  100  pounds  of  ink  figure  5  per  cent  on  job 
press ;  7  per  cent  on  cylinder. 

THE  PERCENTAGE  TO  ADD  FOR  A  FULL  COLOR 

The  figures  given  in  the  following  tables,  unless  otherwise 
specifically  mentioned,  are  for  minimum  or  fair  covering  of 
the  stock.  With  some  colors,  such  as  yellows,  ultramarine 
blue,  earth  colors,  etc.,  there  is  no  advantage  in  carrying 
excess  color;  but  with  lake  or  pulp  reds,  bronze-blues,  etc., 
the  beauty  or  the  sheen  of  the  color  does  not  appear  when 
only  the  minimum  amount  is  carried  on.  The  amount  to  be 
added  would  vary  for  different  stocks,  but  from  tests  made 
of  bronze-blue  on  enamel  paper  a  deduction  of  15  per  cent 
from  the  covering  capacity  would  be  an  average  allowance. 
Each  printer  should  try  to  correct  the  figures  given  here 
so  that  they  apply  directly  to  his  own  work  and  the  stock 
on  the  floor,  which  is  a  variable  item,  especially  at  this  time. 
The  blank  pages  which  follow  the  tables  are  for  these  records. 


38 


HOW  TO  ESTIMATE  INK. 

TABLE  OF  COVERING  CAPACITIES  ON  SOLIDS 

Antique  Stock 

(Plates  28  to  31 )  I^i^t 

Grams  Per  Pound 

Book  Black 1.187  95 

Process  Half-tone  Black 1.225  93 

Label  Blue   (Bronze) 1.172  97 

Second  Grade  Label  Blue  (Bronze) 1.270  89 

Label  Yellow 1.911  59 

High-grade  Ultramarine 1.668  68 

High-grade  Pulp  Red 1.712  66 

Process  Red 1.356  84 

English  Vermilion 2.660  43 

Cover  Yellow 1.360  83 

Cover  White 4.770  24 

Machine  Finish 

(Plates  32  to  34) 

Book  Black 839  135 

Process  Half-tone  Black 790  144 

Label  Blue   (Bronze) 833  136 

Label  Yellow 1.375  82 

High-grade  Ultramarine 950  119 

High-grade  Pulp  Red 1.107  102 

Process  Red 860  132 

S.  &  S.  c. 
(Plates  35  to  37) 

Book  Black 515  220 

Process  Half-tone  Black 515  220 

Label  Blue   (Bronze) 462  245 

Label  Yellow 740  153 

High-grade  Ultramarine 494  229 

High-grade  Pulp  Red 580  196 

Process  Red 520  218 

Cover-stock 

(Suede  Book,  Plates  11  to  14)  ofsT"*8 

Grams.  per  Lb. 

English  Vermilion 3.390  33 

Cover  Yellow 1.840  62 

Cover  White 4.500  25 


39 


how  to  estimate  ink. 
Chromac  Offset  Book 

(Frontispiece)  I^I^i 

Grams        Per  Pound 

Book  Black 947  120 

Process  Half-tone  Black 1.115  102 

Dullo  Black  A-159 880  129 

Label  Blue   (Bronze) 1.040  109 

Label  Yellow 1.235  92 

High-grade  Ultramarine 1.005  113 

High-grade  Pulp  Red 1.277  89* 

Process  Red 855  132 

English  Vermilion 1.765  64 

Snowflake  Enamel 
(Plate  43) 

Process  Half-tone  Black  A-34 407  279 

Dullo  Black 490  231f 

Label  Blue   (Bronze) 450  252 

Label  Yellow 810  140 

High-grade  Ultramarine 448  253 

High-grade  Pulp  Red 486  233 

Process  Red 447  254 

English  Vermilion   (lays  poorly) 965  118$ 

Cameo  Sepia 
(Plates  5  and  27) 

Del  Black  (for  comparison) 570         199 

Process  Half-tone  Black 600         189 

Dullo  Black 575         197 

*This  red  on  Chromac  has  a  deep  rich  color,  and  while  the  stock 
absorbs  a  large  quantity  of  ink  the  finish  remains  good;  with  Process 
Red  the  result  is  also  beautiful,  but  the  color  shows  the  undertone  of 
the  ink  and  not  the  overtone,  as  with  the  Pulp  Red.  The  differences  in 
covering  capacities  are,  therefore,  not  comparable  as  the  results  ob- 
tained show  that  each  ink  has  its  proper  use  and  in  order  to  gain  a 
given  depth  of  color  that  character  of  ink  with  the  larger  amount  of 
color  must  be  carried  on. 

fDullo  Black  is  made  for  dull  or  rough  papers,  although  it  is  used 
for  half-tones  and  type  on  enamels. 

JThe  laying  quality  of  Vermilion  makes  its  use  impossible  on  enam- 
els; its  place  has  been  taken  by  Flaming  Scarlet,  which  takes  a  good 
finish  and  has  a  high  covering  capacity. 

40 


•  how  to  estimate  ink. 
Bleached  Manila  Carton  Stock 

Weight  of 

Ink  (4  Thousands 

sheets),  100     Weight  of  of  Sq.  In. 

Ink.                                                   Sq.  In.          250  Sq.  In.  per  Lb. 

High-grade  News  Black 255         .638  178 

Full  Color 310         .775  146 

Del  Black 305         .762  149 

Full  Color 390         .975  116 

Second     Grade     Label     Blue 

(Bronze)    375         .938  121 

High-grade      Ultramarine      (for 
comparison      with      other 

stocks)    263         .658  172 

High-grade  Carton  Yellow 705       1.763  64 

High-grade  Carton  Red 500       1.250  91 

American    Carton    Red    (no    fin- 
ish)     460       1.150  99 

(Note. —  Deduct  20  per  cent  from  covering  capacity  for 
"  full  "  color  on  this  stock.  News  ink  is  not  of  suitable  black- 
ness nor  drying  quality  for  either  Bleached  Manila  or  Patent 
White  Stock.    It  is  added  for  comparison.) 

Patent  White  Carton  Stock 

Weight  of 

Ink  (4  Thousands 

sheets),  100     Weight  of  of  Sq.  In. 

Ink.                                               Sq.  In.          250  Sq.  In.  per  Lb. 

High-grade  News  Black 185         .463  245 

Del  Black 148         .370  307 

Full  Color 170         .425  267 

Second     Grade     Label     Blue 

(Bronze)    270         .675  168 

High-grade  Ultramarine 205         .513  221 

High-grade  Carton  Yellow 495       1.238  92 

High-grade  Carton  Red 340         .850  133 

American  Carton  Red  (no  finish)      .320         .800  142 

(Note. —  Deduct  15  per  cent  from  covering  capacity  for 
"  full  "  color  on  this  stock.) 


41 


how  to  estimate  ink. 
Non-fading  50-pound  Poster  Stock 

Thousands 
Weight  of       of  Sq.  In. 
Ink.  250  Sq.  In.        per  Lb. 

High-grade  News  Black 790  144 

Full  Color 930  122 

Del  Black 715  159 

Full  Color 820  138 

Poster  Yellow 1.745  65 

Poster  Red  (1916  manufacture) 1.638  69 

Poster  Blue  (1916  manufacture) 1.165  97 

(Note. —  Deduct  15  per  cent  from  covering  capacity  for 
"  full  "  color  on  this  stock.) 

TINTS 

I  have  not  included  tints  in  the  preceding  tables  for  the 
reason  that  the  manner  in  which  tints  are  made  determines 
their  covering  capacity.  On  Diamond  D  enamel  a  buff  tint 
made  with  one  white  covered  171,000  square  inches;  with 
another  white,  187,000;  with  transparent  white,  222,000, 
and  with  Ruxton's  Tint  Base,  324,000.  On  most  of  the  enam- 
els 250,000  square  inches  may  be  easily  obtained  if  the  ink- 
maker  understands  this  subject.  Likewise  in  running  yel- 
lows on  a  stock  as  gray  as  Bleached  Manila  Carton  stock,  a 
covering  capacity  of  100,000  square  inches  may  be  obtained 
by  mixing  the  yellow  with  special  carrying  agents.  This  will 
impair  the  brilliancy  of  the  color  to  some  extent. 

LAPPED  COLORS 

The  covering  capacity  of  the  second  color  is  determined 
by  the  surface  presented  by  the  first  color  and  varies  for  dif- 
ferent stocks.  On  antique  stock  (Plates  28  to  31)  High 
Grade  Pulp  Red  covered  66,000  square  inches,  but  over  Label 
Yellow  it  covered  100,000  on  this  stock.  On  some  enamels 
the  covering  capacity  of  the  red  over  yellow  is  no  greater 
than  the  red  on  the  stock  itself,  while  others  show  an  increase 
in  covering  capacity  of  twenty  per  cent.  The  harder  the 
stock  the  less  difference  in  covering  capacity  between  lapped 
colors  and  colors  run  straight,  and  conversely,  the  softer  the 
stock  the  greater  the  increase  in  the  covering  capacity  of 
the  second  color. 


42 


Plate  28. 


In  the  beginning,  man  went  forth  each  day — some  to  do  battle,  some  to  the 
chase;  others,  again,  to  dig  and  to  delve  in  the  field — all  that  they  might  gain 
and  live,  or  lose  and  die.  Until  there  was  found  among  them  one,  differing  from 
the  rest,  whose  pursuits  attracted  him  not,  and  so  he  stayed  by  the  tents,  and 
traced  strange  devices  with  a  burnt  stick  upon  a  gourd. 

This  man,  who  took  no  joy  in  the  ways  of  his  brethren — who  cared  not  for 
conquest,  and  fretted  in  the  field — this  designer  of  quaint  patterns — this  devise1- 
of  the  beautiful — who  perceived  in  Nature  about  him  curious  curvings,  as  faces 
are  seen  in  the  fire — this  dreamer  apart,  was  the  first  artist. 

And  presently  there  came  to  this  man  another — and,  in  time,  others — of  like 
nature,  chosen  by  the  Gods — and  so  they  worked  together;  and  soon  they  fashioned, 
from  the  moistened  earth,  forms  resembling  the  gourd.  And  with  the  power  of 
creation,  the  heirloom  of  the  artist,  presently  they  went  beyond  the  slovenly 
suggestion  of  Nature,  and  the  first  vase  was  born,  in  beautiful  proportion. 

And  the  toilers  tilled,  and  were  athirst;  and  the  heroes  returned  from  fresh 
victories,  to  rejoice  and  to  feast;  and  all  drank  alike  from  the  artists'  goblets, 
fashioned  cunningly,  taking  no  note  the  while  of  the  craftsman's  pride,  and  under, 
standing  not  his  glory  in  his  work;  drinking  at  the  cup,  not  from  choice,  not  from 
a  consciousness  that  it  was  beautiful,  but  because,  forsooth,  there  was  none  other! 

And  history  wrote  on,  and  conquest  accompanied  civilization,  and  Art  spread 
or  rather  its  products  were  carried  by  the  victors  among  the  vanquished  from  one 
country  to  another.  And  the  customs  of  cultivation  covered  the  face  of  the 
earth,  so  that  all  peoples  continued  to  use  what  the  artist  alone  produced. 

And  centuries  passed  in  this  using,  and  the  world  was  flooded  with  all  that  was 
beautiful,  until  there  arose  a  new  class,  who  discovered  the  cheap,  and  foresaw 
fortune  in  the  facture  of  the  sham.  Then  sprang  into  existence  the  tawdry,  the 
common,  the  gewgaw. 

The  taste  of  the  tradesman  supplanted  the  science  of  the  artist,  and  what  was 
born  of  the  million  went  back  to  them,  and  charmed  them,  for  it  was  after  their 
own  heart;  and  the  great  and  the  small,  the  statesman  and  the  slave,  took  to 
themselves  the  abomination  that  was  tendered,  and  preferred  it — and  have  lived 
with  it  ever  since! 

And  the  artist's  occupation  was  gone,  and  the  manufacturer  and  the  huckster 
took  his  place. 

Nature  contains  the  elements,  in  colour  and  form,  of  all  pictures,  as  the  key- 
board contains  the  notes  of  all  music.  But  the  artist  is  born  to  pick,  and  choose, 
and  group  with  science,  these  elements,  that  the  result  may  be  beautiful — as  the 
musician  gathers  his  notes,  and  forms  his  chords,  until  he  bring  forch  from  chaos 
glorious  harmony. 

He  does  not  confine  himself  to  purposeless  copying,  without  thought,  each 
blade  of  grass,  as  commended  by  the  inconsequent,  but,  in  the  long  curve  of  the 
narrow  leaf,  corrected  by  the  straight  tall  stem,  he  learns  how  grace  is  wedded  to 
dignity,  how  strength  enhances  sweetness,  that  elegance  shall  be  the  result. 

In  the  citron  wing  of  the  pale  butterfly,  with  its  dainty  spots  of  orange,  he  sees 
before  him  the  stately  halls  of  fair  gold,  with  their  slender  saffron  pillars,  and  is 


Plate  29. 


Johann  Froben,  who  achieved  a  well-deserved  reputation  as 
one  of  the  most  enlightened  and  enterprising  publishers  of  the 
sixteenth  century,  and  who  will  be  remembered  as  having  been 
honoured  with  the  friendship  and  confidence  of  Erasmus,  was 
born  in  1460,  in  Hammelburg,  a  village  in  Franconia.  He  studied 
in  the  University  of  Basel  (which  had  been  founded  the  year 
before  his  birth),  and  achieved  distinction  as  a  scholar  in  Latin, 
Greek  and  Hebrew.  He  was  trained  as  type-setter  and  press- 
corrector  by  the  famous  printer  Amerbach,  and  thus  equipped, 
he  secured  citizenship  in  Basel  in  1490,  and  in  the  following  year 
began  business  in  his  own  name  as  a  master  printer  and  publisher. 
Gutenberg  had  been  dead  for  twenty  years,  but  the  business 
established  by  Fust  and  Schoffer  with  the  original  Gutenberg 
plant  (representing  the  earliest  printing  concern  in  Europe)  was 
still  being  carried  on  by  the  son  of  Schoffer.  The  work  of  Caxton, 
which  had  been  begun  in  Burges  in  1470,  had,  in  1474,  been 
transferred  to  London,  and  closed  with  his  death  in  1492,  the 
year  in  which  Aldus  Manutius  began  his  printing  operations  in 
Venice.  In  paris  the  leading  typographer  of  the  town  was 
Badius,  the  predecessor  of  the  more  famous  Estiennes. 

At  the  time  Froben  began  his  work,  the  methods  of  carrying 
on  a  printing  office,  and  the  machinery  for  the  production  and 
distribution  of  books,  were  still  to  be  established.  Type-setters, 
pressmen,  and  correctors  were  all  to  be  trained,  and  every  tech- 
nical detail  of  the  work  of  book-making  called  for  the  personal 
supervision  and  often  for  the  individual  inventiveness  of  the 
master.  Upon  him  came  also  of  necessity  the  responsibility  for 
the  selection  of  the  work  to  be  undertaken,  the  securing  of  text 
for  "copy,"  the  collation  and  preparation  of  the  "copy"  for  the 
type-setters,  and  an  unremitting  watchfulness  over  each  page  as 
put  into  type.  It  is  to  be  borne  in  mind  that  nearly  all  the  earlier 
books  were  printed  in  Latin,  which  for  the  majority  of  the  Swiss 
or  German  compositors  was  an  unfamiliar  tongue,  a  circumstance 
that  very  seriously  increased  the  risk  of  type-setting  errors.  It 
is  surprising  that  in  the  face  of  difficulties  of  this  kind,  the  books 
of  the  fifteenth  century  present,  with  rare  exceptions,  a  fairly 
correct  text. 

Froben's   first   publication   was   a   Latin   Bible   in   convenient 


Plate  30. 


The  name  of  Elzevir  has  for  more  than  two  centuries 
been  a  familiar  one  to  collectors  of  choice  books.  These 
Dutch  printer-publishers  of  the  seventeenth  century  were 
able  to  associate  their  imprint  with  certain  publications 
of  such  distinctive  typographical  excellence  as  to  ensure 
for  the  editions  known  as  "Elzevirs"  a  prestige  that  has 
endured  to  the  present  day.  Aldus  alone  among  the  early 
publishers  has  had  a  similar  fortune,  and  while  the  "Aldine" 
editions  are,  of  course,  in  respect  to  their  number  and  to 
their  typographical  excellence,  much  less  important  than 
the  "Elzevirs,"  it  must  be  remembered  that  having  been 
issued  more  than  a  century  earlier,  their  production  called 
for  a  much  larger  measure  of  originating  capacity  and 
initiative  on  the  part  of  their  printer-publisher.  The 
principal  authority  on  the  history  of  the  Elzevirs  is  a 
comprehensive  and  carefully  written  monograph  of  Alphonse 
Willems,  published  in  Brussels  in  1880. 

Louis  Elzevir,  who,  as  far  as  its  publishing  undertakings 
are  concerned,  was  the  founder  of  the  family,  had  been 
brought  up  as  a  binder  in  the  Flemish  University  town  of 
Louvain.  He  was  a  Protestant,  and  in  1580,  when  existence 
for  Protestants  had  been  made  difficult  in  the  Catholic 
provinces  of  Flanders,  Elzevir,  in  company  with  hundreds 
of  others  of  his  faith,  made  his  way  across  the  border  to 
Holland,  and  settled,  with  his  family,  at  Leyden.  He  was 
at  this  time  about  forty  years  of  age.  Leyden  was,  in 
1580,  next  to  Amsterdam,  the  most  considerable  and  the 
most  important  city  in  Holland.  The  heroic  resistance 
that  its  citizens  had  made  during  the  long  siege  by  the 
Spaniards  had  earned  fame  for  the  city  throughout  all 
Protestant  Europe,  while  the  University,  which  had  been 
founded  by  William  the  Silent  in  commemoration  of  the 
glory  of  the  struggle,  had  at  once  secured  for  itself  a  prestige 
among  the  scholars  of  Europe,  and  in  making  Leyden  a 
centre  for  the  literary  activities  of  the  Dutch  provinces, 
had  given  a  great  incentive  to  its  publishing  and  printing 
trade. 

Louis  Elzevir  found  at  Leyden  a  considerable  group  of 


Plate  31. 


In  the  beginning,  man  went  forth  each  day — some  to  do  battle,  some  to  the 
chase;  others,  again,  to  dig  and  to  delve  in  the  field — all  that  they  might  gain 
and  live,  or  lose  and  die.  Until  there  was  found  among  them  one,  differing  from 
the  rest,  whose  pursuits  attracted  him  not,  and  so  he  stayed  by  the  tents,  and 
traced  strange  devices  with  a  burnt  stick  upon  a  gourd. 

This  man,  who  took  no  joy  in  the  ways  of  his  brethren — who  cared  not  for 
conquest,  and  fretted  in  the  field — this  designer  of  quaint  patterns — this  devise1" 
of  the  beautiful — -who  perceived  in  Nature  about  him  curious  curvings,  as  faces 
are  seen  in  the  fire — this  dreamer  apart,  was  the  first  artist. 

And  presently  there  came  to  this  man  another — and,  in  time,  others — of  like 
nature,  chosen  by  the  Gods — and  so  they  worked  together;  and  soon  they  fashioned, 
from  the  moistened  earth,  forms  resembling  the  gourd.  And  with  the  power  of 
creation,  the  heirloom  of  the  artist,  presently  they  went  beyond  the  slovenly 
suggestion  of  Nature,  and  the  first  vase  was  born,  in  beautiful  proportion. 

And  the  toilers  tilled,  and  were  athirst;  and  the  heroes  returned  from  fresh 
victories,  to  rejoice  and  to  feast;  and  all  drank  alike  from  the  artists'  goblets, 
fashioned  cunningly,  taking  no  note  the  while  of  the  craftsman's  pride,  and  under- 
standing not  his  glory  in  his  work;  drinking  at  the  cup,  not  from  choice,  not  from 
a  consciousness  that  it  was  beautiful,  but  because,  forsooth,  there  was  none  other! 

And  history  wrote  on,  and  conquest  accompanied  civilization,  and  Art  spread, 
or  rather  its  products  were  carried  by  the  victors  among  the  vanquished  from  one 
country  to  another.  And  the  customs  of  cultivation  covered  the  face  of  the 
earth,  so  that  all  peoples  continued  to  use  what  the  artist  alone  produced. 

And  centuries  passed  in  this  using,  and  the  world  was  flooded  with  all  that  was 
beautiful,  until  there  arose  a  new  class,  who  discovered  the  cheap,  and  foresaw 
fortune  in  the  facture  of  the  sham.  Then  sprang  into  existence  the  tawdry,  the 
common,  the  gewgaw. 

The  taste  of  the  tradesman  supplanted  the  science  of  the  artist,  and  what  was 
born  of  the  million  went  back  to  them,  and  charmed  them,  for  it  was  after  their 
own  heart;  and  the  great  and  the  small,  the  statesman  and  the  slave,  took  to 
themselves  the  abomination  that  was  tendered,  and  preferred  it — and  have  lived 
with  it  ever  since! 

And  the  artist's  occupation  was  gone,  and  the  manufacturer  and  the  huckster 
took  his  place. 

Nature  contains  the  elements,  in  colour  and  form,  of  all  pictures,  as  the  key- 
board contains  the  notes  of  all  music.  But  the  artist  is  born  to  pick,  and  choose, 
and  group  with  science,  these  elements,  that  the  result  may  be  beautiful — as  the 
musician  gathers  his  notes,  and  forms  his  chords,  until  he  bring  forth  from  chaos 
glorious  harmony. 

He  does  not  confine  himself  to  purposeless  copying,  without  thought,  each 
blade  of  grass,  as  commended  by  the  inconsequent,  but,  in  the  long  curve  of  the 
narrow  leaf,  corrected  by  the  straight  tall  stem,  he  learns  how  grace  is  wedded  to 
dignity,  how  strength  enhances  sweetness,  that  elegance  shall  be  the  result. 

In  the  citron  wing  of  the  pale  butterfly,  with  its  dainty  spots  of  oramx-,  he  seea 
before  him  the  stately  halls  of  fair  gold,  with  their  slender  saffron  pillars,  and  is 


Plate  32. 


Johann  Froben,  who  achieved  a  well-deserved  reputation  as 
one  of  the  most  enlightened  and  enterprising  publishers  of  the 
sixteenth  century,  and  who  will  be  remembered  as  having  been 
honoured  with  the  friendship  and  confidence  of  Erasmus,  was 
born  in  1460,  in  Hammelburg,  a  village  in  Franconia.  He  studied 
in  the  University  of  Basel  (which  had  been  founded  the  year 
before  his  birth),  and  achieved  distinction  as  a  scholar  in  Latin, 
Greek  and  Hebrew.  He  was  trained  as  type-setter  and  press- 
corrector  by  the  famous  printer  Amerbach,  and  thus  equipped, 
he  secured  citizenship  in  Basel  in  1490,  and  in  the  following  year 
began  business  in  his  own  name  as  a  master  printer  and  publisher. 
Gutenberg  had  been  dead  for  twenty  years,  but  the  business 
established  by  Fust  and  Schoffer  with  the  original  Gutenberg 
plant  (representing  the  earliest  printing  concern  in  Europe)  was 
still  being  carried  on  by  the  son  of  Schoffer.  The  work  of  Caxton, 
which  had  been  begun  in  Burges  in  1470,  had,  in  1474,  been 
transferred  to  London,  and  closed  with  his  death  in  1492,  the 
year  in  which  Aldus  Manutius  began  his  printing  operations  in 
Venice.  In  paris  the  leading  typographer  of  the  town  was 
Badius,  the  predecessor  of  the  more  famous  Estiennes. 

At  the  time  Froben  began  his  work,  the  methods  of  carrying 
on  a  printing  office,  and  the  machinery  for  the  production  and 
distribution  of  books,  were  still  to  be  established.  Type-setters, 
pressmen,  and  correctors  were  all  to  be  trained,  and  every  tech- 
nical detail  of  the  work  of  book-making  called  for  the  personal 
supervision  and  often  for  the  individual  inventiveness  of  the 
master.  Upon  him  came  also  of  necessity  the  responsibility  tor 
the  selection  of  the  work  to  be  undertaken,  the  securing  of  text 
for  "copy,"  the  collation  and  preparation  of  the  "copy"  for  the 
type-setters,  and  an  unremitting  watchfulness  over  each  page  as 
put  into  type.  It  is  to  be  borne  in  mind  that  nearly  all  the  earlier 
books  were  printed  in  Latin,  which  for  the  majority  of  the  Swiss 
or  German  compositors  was  an  unfamiliar  tongue,  a  circumstance 
that  very  seriously  increased  the  risk  of  type-setting  errors.  It 
is  surprising  that  in  the  face  of  difficulties  of  this  kind,  the  books 
of  the  fifteenth  century  present,  with  rare  exceptions,  a  fairly 
correct  text. 

Froben's   first   publication    was   a   Latin    Bible   in    convenient 


Plah 


The  name  of  Elzevir  has  for  more  than  two  centuries 
been  a  familiar  one  to  collectors  of  choice  books.  These 
Dutch  printer-publishers  of  the  seventeenth  century  were 
able  to  associate  their  imprint  with  certain  publications 
of  such  distinctive  typographical  excellence  as  to  ensure 
for  the  editions  known  as  "Elzevirs"  a  prestige  that  has 
endured  to  the  present  day.  Aldus  alone  among  the  early 
publishers  has  had  a  similar  fortune,  and  while  the  "Aldine" 
editions  are,  of  course,  in  respect  to  their  number  and  to 
their  typographical  excellence,  much  less  important  than 
the  "Elzevirs,"  it  must  be  remembered  that  having  been 
issued  more  than  a  century  earlier,  their  production  called 
for  a  much  larger  measure  of  originating  capacity  and 
initiative  on  the  part  of  their  printer-publisher.  The 
principal  authority  on  the  history  of  the  Elzevirs  is  a 
comprehensive  and  carefully  written  monograph  of  Alphonse 
Willems,  published  in  Brussels  in  1880. 

Louis  Elzevir,  who,  as  far  as  its  publishing  undertakings 
are  concerned,  was  the  founder  of  the  family,  had  been 
brought  up  as  a  binder  in  the  Flemish  University  town  of 
Louvain.  He  was  a  Protestant,  and  in  1580,  when  existence 
for  Protestants  had  been  made  difficult  in  the  Catholic 
provinces  of  Flanders,  Elzevir,  in  company  with  hundreds 
of  others  of  his  faith,  made  his  way  across  the  border  to 
Holland,  and  settled,  with  his  family,  at  Leyden.  He  was 
at  this  time  about  forty  years  of  age.  Leyden  was,  in 
1580,  next  to  Amsterdam,  the  most  considerable  and  the 
most  important  city  in  Holland.  The  heroic  resistance 
that  its  citizens  had  made  during  the  long  siege  bv  the 
Spaniards  had  earned  fame  for  the  city  throughout  all 
Protestant  Europe,  while  the  University,  which  had  been 
founded  by  William  the  Silent  in  commemoration  of  the 
glory  of  the  struggle,  had  at  once  secured  tor  itself  a  prestige 
among  the  scholars  of  Europe,  and  in  making  Leyden  a 
centre  for  the  literary  activities  of  the  Dutch  provinces, 
had  given  a  great  incentive  to  its  publishing  and  printing 
trade. 

Louis  Elzevir  found  at  Leyden  a  considerable  group  <>t 


Plate  34. 


In  the  beginning,  man  went  forth  each  day — some  to  do  battle,  some  to  the 
chase;  others,  again,  to  dig  and  to  delve  in  the  field — all  that  they  might  gain 
and  live,  or  lose  and  die.  Until  there  was  found  among  them  one,  differing  from 
the  rest,  whose  pursuits  attracted  him  not,  and  so  he  stayed  by  the  tents,  and 
traced  strange  devices  with  a  burnt  stick  upon  a  gourd. 

This  man,  who  took  no  joy  in  the  ways  of  his  brethren — who  cared  not  for 
conquest,  and  fretted  in  the  field — this  designer  of  quaint  patterns — this  devise1" 
of  the  beautiful — who  perceived  in  Nature  about  him  curious  curvings,  as  faces 
are  seen  in  the  fire — this  dreamer  apart,  was  the  first  artist. 

And  presently  there  came  to  this  man  another — and,  in  time,  others — of  like 
nature,  chosen  by  the  Gods — and  so  they  worked  together;  and  soon  they  fashioned, 
from  the  moistened  earth,  forms  resembling  the  gourd.  And  with  the  power  of 
creation,  the  heirloom  of  the  artist,  presently  they  went  beyond  the  slovenly 
suggestion  of  Nature,  and  the  first  vase  was  born,  in  beautiful  proportion. 

And  the  toilers  tilled,  and  were  athirst;  and  the  heroes  returned  from  fresh 
victories,  to  rejoice  and  to  feast;  and  all  drank  alike  from  the  artists'  goblets, 
fashioned  cunningly,  taking  no  note  the  while  of  the  craftsman's  pride,  and  under- 
standing not  his  glory  in  his  work;  drinking  at  the  cup,  not  from  choice,  not  from 
a  consciousness  that  it  was  beautiful,  but  because,  forsooth,  there  was  none  other! 

And  history  wrote  on,  and  conquest  accompanied  civilization,  and  Art  spread, 
or  rather  its  products  were  carried  by  the  victors  among  the  vanquished  from  one 
country  to  another.  And  the  customs  of  cultivation  covered  the  face  of  the 
earth,  so  that  all  peoples  continued  to  use  what  the  artist  alone  produced. 

And  centuries  passed  in  this  using,  and  the  world  was  flooded  with  all  that  was 
beautiful,  until  there  arose  a  new  class,  who  discovered  the  cheap,  and  foresaw 
fortune  in  the  facture  of  the  sham.  Then  sprang  into  existence  the  tawdry,  the 
common,  the  gewgaw. 

The  taste  of  the  tradesman  supplanted  the  science  of  the  artist,  and  what  was 
born  of  the  million  went  back  to  them,  and  charmed  them,  for  it  was  after  their 
own  heart;  and  the  great  and  the  small,  the  statesman  and  the  slave,  took  to 
themselves  the  abomination  that  was  tendered,  and  preferred  it — and  have  lived 
with  it  ever  since! 

And  the  artist's  occupation  was  gone,  and  the  manufacturer  and  the  huckster 
took  his  place. 

Nature  contains  the  elements,  in  colour  and  form,  of  all  pictures,  as  the  key- 
board contains  the  notes  of  all  music.  But  the  artist  is  born  to  pick,  and  choose, 
and  group  with  science,  these  elements,  that  the  result  may  be  beautiful — as  the 
musician  gathers  his  notes,  and  forms  his  chords,  until  he  bring  for,.h  from  chaos 
glorious  harmony 

He  does  not  confine  himself  to  purposeless  copying,  without  thought,  each 
blade  of  grass,  as  commended  by  the  inconsequent,  but,  in  the  long  curve  of  the 
narrow  leaf,  corrected  by  the  straight  tall  stem,  he  learns  how  grace  is  wedded  to 
dignity,  how  strength  enhances  sweetness,  that  elegance  shall  be  the  result. 

In  the  citron  wing  of  the  pale  butterfly,  with  its  dainty  spots  of  orange,  he  seea 
before  him  the  stately  halls  of  fair  gold,  with  their  slender  saffron  pillars,  and  is 


Plate  3.3. 


Johann  Froben,  who  achieved  a  well-deserved  reputation  as 
one  of  the  most  enlightened  and  enterprising  publishers  of  the 
sixteenth  century,  and  who  will  be  remembered  as  having  been 
honoured  with  the  friendship  and  confidence  of  Erasmus,  was 
born  in  1460,  in  Hammelburg,  a  village  in  Franconia.  He  studied 
in  the  University  of  Basel  (which  had  been  founded  the  year 
before  his  birth),  and  achieved  distinction  as  a  scholar  in  Latin, 
Greek  and  Hebrew.  He  was  trained  as  type-setter  and  press- 
corrector  by  the  famous  printer  Amerbach,  and  thus  equipped, 
he  secured  citizenship  in  Basel  in  1490,  and  in  the  following  year 
began  business  in  his  own  name  as  a  master  printer  and  publisher. 
Gutenberg  had  been  dead  for  twenty  years,  but  the  business 
established  by  Fust  and  SchofTer  with  the  original  Gutenberg 
plant  (representing  the  earliest  printing  concern  in  Europe)  was 
still  being  carried  on  by  the  son  of  SchofTer.  The  work  of  Caxton, 
which  had  been  begun  in  Burges  in  1470,  had,  in  1474,  been 
transferred  to  London,  and  closed  with  his  death  in  1492,  the 
year  in  which  Aldus  Manutius  began  his  printing  operations  in 
Venice.  In  paris  the  leading  typographer  of  the  town  was 
Badius,  the  predecessor  of  the  more  famous  Estiennes. 

At  the  time  Froben  began  his  work,  the  methods  of  carrying 
on  a  printing  office,  and  the  machinery  for  the  production  and 
distribution  of  books,  were  still  to  be  established.  Type-setters, 
pressmen,  and  correctors  were  all  to  be  trained,  and  every  tech- 
nical detail  of  the  work  of  book-making  called  for  the  personal 
supervision  and  often  for  the  individual  inventiveness  of  the 
master.  LIpon  him  came  also  of  necessity  the  responsibility  tor 
the  selection  of  the  work  to  be  undertaken,  the  securing  of  text 
for  "copy,"  the  collation  and  preparation  of  the  "copy"  for  the 
type-setters,  and  an  unremitting  watchfulness  over  each  page  as 
put  into  type.  It  is  to  be  borne  in  mind  that  nearly  all  the  earlier 
books  were  printed  in  Latin,  which  tor  the  majority  of  the  Swiss 
or  German  compositors  was  an  unfamiliar  tongue,  a  circumstance 
that  very  seriously  increased  the  risk  of  type-setting  errors.  It 
is  surprising  that  in  the  face  of  difficulties  of  this  kind,  the  books 
of  the  fifteenth  century  present,  with  rare  exceptions,  a  fairly 
correct  text. 

Froben's   first   publication    was   a    Latin    Bible    in    convenient 


Plate  36. 


The  name  of  Elzevir  has  for  more  than  two  centuries 
been  a  familiar  one  to  collectors  of  choice  books.  These 
Dutch  printer-publishers  of  the  seventeenth  century  were 
able  to  associate  their  imprint  with  certain  publications 
of  such  distinctive  typographical  excellence  as  to  ensure 
for  the  editions  known  as  "Elzevirs"  a  prestige  that  has 
endured  to  the  present  day.  Aldus  alone  among  the  early 
publishers  has  had  a  similar  fortune,  and  while  the  "Aldine" 
editions  are,  of  course,  in  respect  to  their  number  and  to 
their  typographical  excellence,  much  less  important  than 
the  "Elzevirs,"  it  must  be  remembered  that  having  been 
issued  more  than  a  century  earlier,  their  production  called 
for  a  much  larger  measure  of  originating  capacity  and 
initiative  on  the  part  of  their  printer-publisher.  The 
principal  authority  on  the  history  of  the  Elzevirs  is  a 
comprehensive  and  carefully  written  monograph  of  Alphonse 
Willems,  published  in  Brussels  in  1880. 

Louis  Elzevir,  who,  as  far  as  its  publishing  undertakings 
are  concerned,  was  the  founder  of  the  family,  had  been 
brought  up  as  a  binder  in  the  Flemish  University  town  of 
Louvain.  He  was  a  Protestant,  and  in  1580,  when  existence 
for  Protestants  had  been  made  difficult  in  the  Catholic 
provinces  of  Flanders,  Elzevir,  in  company  with  hundreds 
of  others  of  his  faith,  made  his  way  across  the  border  to 
Holland,  and  settled,  with  his  family,  at  Leyden.  He  was 
at  this  time  about  forty  years  of  age.  Leyden  was,  in 
1580,  next  to  Amsterdam,  the  most  considerable  and  the 
most  important  city  in  Holland.  The  heroic  resistance 
that  its  citizens  had  made  during  the  long  siege  by  the 
Spaniards  had  earned  fame  for  the  city  throughout  all 
Protestant  Europe,  while  the  University,  which  had  been 
founded  by  William  the  Silent  in  commemoration  of  the 
glory  of  the  struggle,  had  at  once  secured  tor  itself  a  prestige 
among  the  scholars  of  Europe,  and  in  making  Leyden  a 
centre  for  the  literary  activities  of  the  Dutch  provinces, 
had  given  a  great  incentive  to  its  publishing  ami  printing 
trade. 

Louis  Elzevir  found  at  Leyden  a  considerable  group  <>t 


Plate  37, 


Plate  38. 


Plat  i 


Plate  40. 


Plate  41. 


Plate  4: 


Plate  43. 


Plate  44. 


Plate  45. 


Plate  46. 


Plate  47. 


Plat; 


l\\\\\* 


fit 


Plate  49. 


ft  *j  ^ 


PLATf 


**. 


Plate  51. 


. 


fit 


Plate  52. 


Plate  53. 


^CWUFOV^ 


~ " 


ERN  REGIONAL  Li 


% 


AA    000  873  041     8 


CENTRAL  UNIVERSITY  LIBRARY 
University  of  California,  San  Diego 


DATE  DUE 

: — ! — ~ 

SEP  80 1* 


UCSD  Libr. 


/    . 


